The Releases Your Record Store Guy Won’t Tell You About
From Swell Maps’ first official Peel Sessions to why The Candy Harlots story needs to be heard
Latest Podcasts
Spinal Tap Couldn’t Script This
This week’s episode dives deep into an album selected by Gavin Reed, longtime DMO Union member and our go-to expert on Australian rock gems. Gavin joined us from across the planet (literally past midnight his time) to share the Candy Harlots’ tragic tale of perfect songs released at the worst possible moment.
Fearless, Fast, and Forever: Iron Maiden’s 80s Reign
Iron Maiden fans, get ready for a deep dive into five decades of heavy metal legend. This week, Dig Me Out welcomes celebrated author Daniel Bukszpan—the mind behind Iron Maiden at 50—a passionate and visually stunning tribute chronicling the band's journey from East London pubs to global stadiums. Bukszpan’s new book, released September 16th, pays homa…
New Releases
Nine Inch Nails - Tron: Ares (Soundtrack)
Trent Reznor and Atticus Ross have kept their film scores separate from the NIN catalog. Not anymore. For the first time ever, they’re releasing a soundtrack under the Nine Inch Nails banner, and honestly, it’s a bold move that pays off more often than not.
This marks the first NIN album in five years and the first time Reznor has crossed the streams between his Oscar-winning film work and his industrial rock legacy. The 24-track collection pulls heavily from their recent ambient work like Ghosts while channeling classic NIN darkness.
What works: “As Alive As You Need Me To Be” delivers classic NIN bite with Reznor rhyming “infection” with “connection” over a surprisingly Daft Punk-ish vocoder chorus. The atmospheric pieces like “Building Better Worlds” and “Ghost in the Machine” nail that ‘80s synth vibe from Wendy Carlos’ original Tron score. What doesn’t work: About 70% of the soundtrack feels more like a collection of instrumentals than cohesive songs, and some tracks like “Forked Reality” veer into borderline unlistenable electronic noise territory. Critics note the lack of memorable themes compared to Daft Punk’s Legacy score.
Motion City Soundtrack - The Same Old Wasted Wonderful World
The Minneapolis pop-punk pioneers are back after a decade-long hiatus, and their signature Moog-heavy sound has aged like fine wine. This is what happens when a band stops worrying about career trajectory and just remembers why they started making music.
Their first album in ten years was recorded in just 14 sessions over multiple tour stops, featuring guest spots from Fall Out Boy’s Patrick Stump and Citizen’s Mat Kerekes. The title track was originally written for their 2015 farewell album but never made it on.
What works: The album perfectly balances nostalgia with present-day reflection. “She Is Afraid” builds to that euphoric sing-along Motion City is known for, while “Particle Physics” (co-written with Patrick Stump) delivers classic MCS energy with intricate harmonies. What doesn’t work: Some critics note the album “stumbles in places” with uneven pacing, and about 20% of the tracks feel like variations on familiar themes rather than fresh explorations.
Sarah McLachlan - Better Broken
The Canadian singer-songwriter returns with her first album of original material in 11 years, and she’s not interested in revisiting her Lilith Fair glory days. This is McLachlan at 57, weathered by life’s storms and stronger for it.
Better Broken is her first release on Concord Records and coincides with a new documentary about Lilith Fair. The album was recorded primarily at Sound City Studios with producers Tony Berg and Will Maclellan.
What works: McLachlan’s voice remains her greatest instrument, and the title track’s wisdom-into-melody alchemy is as potent as ever. “Gravity” showcases her ability to craft five-minute piano ballads that never feel indulgent. What doesn’t work: Some tracks like “The Last to Go” lean too heavily into safe, familiar territory rather than pushing into the emotional depth the album promises.
Cardiacs - LSD
Twenty-six years after their last album, the prog-punk legends have completed their final statement. This posthumous release, guided by Tim Smith’s brother Jim and featuring Mike Vennart on vocals, is both a celebration and a farewell.
This is the first Cardiacs release to feature real orchestral strings (arranged by Pete Whitfield) and includes contributions from members of Napalm Death, Oceansize, and Biffy Clyro. The album was mixed by Adam Noble and mastered at Abbey Road.
What works: “Woodeneye” delivers bouncy, intense Cardiacs energy with Mike Vennart successfully translating Tim Smith’s complex vocal intervals. “Busty Beez” is nine minutes of head-swirling majesty that recalls the band’s most ambitious work. What doesn’t work: Not every song lands—“Volob” lacks the emotional resonance of the band’s best material, and some tracks feel incomplete despite the loving care given to them.
38 Special - Milestone
After 20 years away from the studio, the Southern rock veterans return with their first album since 2004’s Drivetrain. At 50 years as a band, they’re not interested in playing it safe.
The album features collaborations with Train’s Pat Monahan, Randy Bachman, and longtime collaborator Jim Peterik (Survivor). It was recorded at multiple studios while the band continued touring, requiring careful coordination.
What works: “All I Haven’t Said” perfectly balances 38 Special’s signature muscle with mature songwriting, while opener “So Much So Right” delivers the band’s mission statement with authority. What doesn’t work: Some tracks feel too calculated in their attempt to update the band’s sound for modern rock radio, lacking the organic feel of their classic material.
The Divine Comedy - Rainy Sunday Afternoon
Neil Hannon channels his melancholic side on his 13th album, recorded at Abbey Road following his work on the Wonka soundtrack. This is orchestral pop as catharsis.
The album was financed partly by Hannon’s work on Wonka and represents his most personal and poignant work to date. It includes bonus material from his acclaimed 2022 career-spanning shows in Paris and London.
What works: “The Last Time I Saw The Old Man,” written for Hannon’s late father, achieves Scott Walker-ish grandeur, while “I Want You” creates cinematic reach from minimal piano motifs. What doesn’t work: Some of the more whimsical tracks like “The Man Who Turned Into A Chair” feel disconnected from the album’s emotional core, though they showcase Hannon’s range.
Kittie - Spit XXV EP
The Canadian metal pioneers mark 25 years of their groundbreaking debut by re-recording four key tracks with their evolved sound. Producer Garth Richardson returns from the original 1999 sessions.
This is the first time the band has re-recorded classic material, inspired by Taylor Swift’s re-recording campaign. The sessions used the same amplifiers and equipment from the original album.
What works: “Do You Think I’m A Whore? XXV” receives its overdue recognition with visceral new energy, while the re-recordings showcase how the band’s musicianship has evolved over 25 years. What doesn’t work: Some fans question whether the originals needed updating, and the EP format limits the scope of what could have been a more comprehensive revisit to Spit.
Paradise Lost - Ascension
Seventeen albums in, the UK doom-metal pioneers deliver some of their finest material. After a five-year gap (their longest between albums), they return with renewed focus.
This is their last album featuring drummer Guido Montanarini and their first to be mixed and produced entirely by guitarist Greg Mackintosh. The extended writing period allowed for more song refinement.
What works: “Serpent on the Cross” and “Tyrants Serenade” showcase the band still operating at peak form, with Nick Holmes’ vocals aging like fine wine across growled and clean styles. What doesn’t work: Two tracks in the middle section (“Diluvium” and one other) create a minor dent in the album’s otherwise excellent flow.
Bill Janovitz - The Cars: Let the Stories Be Told
The Buffalo Tom frontman delivers a definitive biography of the New Wave legends, combining his musician’s insight with enthusiastic participation from surviving band members.
This is the first comprehensive book to fully explore The Cars’ Boston origins and their support of the local music scene, with cooperation from all surviving members and their inner circle.
What works: Janovitz’s dual perspective as musician and writer provides articulate insights into the band’s musical and cultural impact, while not shying away from the conflicts that ended the band. What doesn’t work: Some readers might wish for more critical analysis of the band’s later work, though Janovitz’s obvious love for the subject matter makes this more celebration than critique.
Gruff Rhys - Dim Probs
The Super Furry Animals leader returns with his fourth Welsh-language album, a lo-fi departure from his more pop-oriented recent work that tackles dark themes with deceptive lightness.
Recorded quickly in Bristol after Rhys researched early ’80s Welsh electronic music tapes, the album was written on a “cheap Swedish catalogue acoustic guitar” and supplemented with analog electronics.
What works: “Taro #1 + 2” creates a groovy, toe-tapping meditation on death that feels distinctly alive, while the album’s warm, personal feel makes the Welsh lyrics emotionally accessible to non-speakers. What doesn’t work: The lo-fi approach sometimes sacrifices the melodic sophistication that makes Rhys’ best work so compelling.
The Chameleons - Arctic Moon
After 24 years, the Manchester post-punk legends return with their first full-length since 2001. With Vox and Reg Smithies reunited, they’ve delivered something both nostalgic and urgently relevant.
This is their first album to feature real orchestral strings and their longest gap between full-length releases. The album was recorded with the band’s current touring lineup.
What works: “Where Are You” perfectly showcases their distinctive guitar tones, while “David Bowie Takes My Hand” pays homage to one of their key influences with textured psychedelia. What doesn’t work: A few tracks feel like they’re consciously trying to recapture past magic rather than pushing forward naturally.
Fruit Bats - Baby Man
Eric D. Johnson strips everything down to essentials on his most raw and personal album yet. Recorded in just a week, this minimalist collection puts his songwriting under a microscope.
Unlike previous full-band releases, this album features Johnson mostly alone with acoustic guitar or piano, creating his most exposed and vulnerable work to date.
What works: The sparse arrangements force focus on Johnson’s lyrics and melodies, creating an intimate conversation between artist and listener that recalls Nick Drake’s approach. What doesn’t work: The minimalist approach, while effective, sometimes leaves songs feeling underdeveloped compared to Johnson’s more arranged work.
Horace Pinker - Now and the Future
The Chicago punk veterans deliver their first full-length in over a decade, sounding more urgent and energized than ever after 30+ years together.
This is their first album for People of Punk Rock Records and was recorded across two sessions in 2024 and 2025 at Chicago’s Bombshelter Recording Studio.
What works: The band balances grit with melody perfectly on tracks like “Three Against Me” and “Call It a Day,” showing their signature energy intact after all these years. What doesn’t work: Some of the mid-tempo tracks lack the urgency that makes their best material so compelling.
Swell Maps - The John Peel Sessions
For the first time in 40 years, all three of the experimental punk legends’ BBC sessions are officially available, remastered and collected in one release.
These recordings have only existed as bootlegs or radio broadcasts since they were originally recorded between 1978-1980, making this the first official release.
What works: The sessions capture Swell Maps at their most unfiltered—disjointed, percussive, and barely held together in the best possible way. What doesn’t work: The lo-fi, fragmented nature of the recordings, while true to the band’s aesthetic, makes for challenging listening compared to more polished releases.
Tav Falco - Desire On Ice
The southern rock provocateur delivers his 14th studio album, recorded at Sam Phillips Recording with an all-star cast of contributors over 18 months.
This is arguably Falco’s most ambitious project in his 40-plus year career, featuring contributions from Jon Spencer, Bobby Gillespie, Kid Congo Powers, and many others.
What works: The album excavates themes of unrequited love and mythic destruction with Falco’s singular flair, anchored by his current Panther Burns lineup. What doesn’t work: With so many guest contributors, some tracks feel more like collaborations than cohesive Tav Falco statements.
Teenage Bottlerocket - Ready To Roll
The Wyoming punk stalwarts return after four years with their tenth album overall and first for Pirates Press Records. After 25 years, they’re still finding ways to surprise themselves.
Miguel Chen steps up to lead vocals for the first time, while tracks like “True To You” and “I Just Found Out That I’m Stupid” incorporate unexpected new wave influences.
What works: “She’s The Shit” delivers vintage Ramones-influenced energy, while “Taquero” (about selling Mexican food) shows the band’s humor intact. The production is impeccable. What doesn’t work: A few tracks feel like the band going through familiar motions rather than pushing into new territory, though the overall quality remains high.
