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@chrisggarrod
Review: Foo Fighters — Your Favorite Toy (2026)
The most surprising thing about Your Favorite Toy, released April 24, 2026, is how impatient it sounds. Not desperate. Not nostalgic. And definitely not interested in taking a victory lap. Just impatient. Let’s be honest: Foo Fighters could probably make a perfectly fine arena-rock album in their sleep by now. We all know the formula: big guitars, bigger choruses, an emotional swell near the…
Review: The Claypool Lennon Delirium – The Great Parrot-Ox and the Golden Egg of Empathy (2026) Les Claypool and Sean Lennon’s album delivers a unique blend of psychedelic rock and emotional depth, exploring themes of empathy and modern life....
Review: Brigitte Calls Me Baby’s “Irreversible” (2026)
In 2026, being so emotionally open in music is a real risk. Most indie rock bands today hide their feelings behind irony, minimalism, or self-awareness, so romantic music can feel out of place. That’s why Irreversible, the second album, released in March 2026, from Chicago’s Brigitte Calls Me Baby, stands out. The album goes all in on big gestures, heartfelt melodies, and dramatic longing.…
Wednesday Single Review: Panic Shack’s punk, “grin & bear it"
Today, Cardiff quintet Panic Shack return with their first new music since the release of their self-titled debut album, which landed in July 2025 via Brace Yourself Records and saw the band achieve a Top 40 album in the UK. It comes in the guise of a fizzy punk barnstormer, “grin & bear it,” and arrives on the eve of the group’s first-ever North American headline tour, with The Super Furry…
Concert Review: I DON’T KNOW HOW BUT THEY FOUND ME at the Paradise Rock Club, Boston, April 15th, 2026
By spring 2026, I DON’T KNOW HOW BUT THEY FOUND ME, or iDKHOW, had become a clear reflection of Dallon Weekes’ vision. Ryan Seaman left the band years ago, which could have disrupted things, but instead, their live shows have become even more focused and theatrical. The April 15th show at the Paradise Rock Club in Boston suited this version of iDKHOW perfectly: intimate, stylish, a bit quirky,…
Wednesday Single Review: Beck’s haunting “Ride Lonesome” (2026)
It’s strangely comforting how Beck always returns to themes of heartbreak. Over the past 30 years, he’s tried out styles like junkyard hip-hop, mutant funk, clean synth-pop, and psychedelic collage. I’ll admit, I’m a big fan of his catchy and fun 2017 album, Colors. Even so, he often returns to the acoustic sadness that made his album Sea Change (2002) so beloved. The 2026 single “Ride…
Review: The Dream Machine – Fort Perch Rock (2026)
From the outset of Fort Perch Rock, The Dream Machine reject conventional musical norms. Guitars surge, rhythms stutter, and melodies intersect. Rather than resolving these tensions, the band maintains them, establishing the album’s atmosphere. The record does not pursue traditional cohesion; instead, it explores emotion, memory, and the complex interplay of past and present. Despite the…
Wednesday Single Review: Duran Duran’s “Free To Love”, with Nile Rodgers
“Free To Love” arrives as a confident, late-career statement from Duran Duran. They’re not chasing trends anymore; instead, they’re shaping their own sound. Nile Rodgers joins in, and he’s no stranger to the band. (“Notorious” (1986) is still my favorite DD album.) His presence adds a subtle finesse to the track — something you might not notice right away, but once you do, it’s hard to…
Wednesday Single Review: Teddy Swims’ “Mr. Know It All” (2026)
There’s a moment early in “Mr. Know It All” where Georgia-based Teddy Swims pulls back instead of belting, and that restraint reveals where he is as an artist now. This isn’t the same maximalist, vocal-gymnastics-first performer who powered songs like “Lose Control” and “The Door” into ubiquity. This is someone more interested in tension than release, in self-interrogation rather than…
Wednesday Single Review: Jack White's "G.O.D. and the Broken Ribs" and "Derecho Demonico" (2026)
A Return to Form, or a Refusal to Leave It? Jack White’s recent work embodies a unique tension between reinvention and simplicity, balancing an expanded sonic palette with stripped-down elements. His new double-single, “G.O.D. and the Broken Ribs” and “Derecho Demonico,” embraces this tension, presenting a self-referential and energized version of White. While “No Name” (2024) was a sprawling…
Wednesday Single Review: “Wicked Ways” by Matt Jones and The Bobs (2026)
A strong, thoughtful return with a quiet sense of power. Coming from the heart of Southwest Virginia, after an over ten-year split from their debut, Americana and folk-rock group, Matt Jones and The Bobs have emerged with two new singles, “You Stood Still” and this most recent one, “Wicked Ways.” “Wicked Ways” feels like a late-afternoon chat on a porch: unhurried, honest, and shaped by the…
Review: The Romantic (2026) — Bruno Mars
Well, I kind of expected this. After almost ten years without a solo album, The Romantic serves as both a fresh start and a reset for Bruno Mars. Since 2016’s 24K Magic (which won seven Grammy Awards, including Album of the Year), Mars has stayed in the spotlight through big collaborations and the Silk Sonic project (one of my favorite albums of 2021!), where his passion for vintage soul and R&B…
WednesdaySingleReview: Present Nature – “Bluebird” (2026)
“Bluebird” is a quietly powerful song that draws from British pop traditions while making its own mark. Running just over three minutes, it resists the urge to announce itself right away. Instead, Present Nature let the song develop slowly and patiently, like a story shared in a quiet kitchen late at night. This single doesn’t demand attention, but it earns it with every verse and note. Before…
Review: Kiss All the Time. Disco, Occasionally (2026) — Harry StylesÂ
Well, I didn’t expect this. Harry Styles is known for creating moods as much as writing songs. From the soft-rock nostalgia of his debut (I am still working on a karaoke version of “Sign of the Times”, but I just can’t hit that last high octave, damnit…) to the warm, personal feel of Harry’s House, his albums often create worlds you can enter. With Kiss All the Time. Disco, Occasionally, he…
Interview: Vinyl Floor and their latest 2026 album, Balancing Act
And what may be next? Introduction Vinyl Floor is a Danish progressive/alternative rock duo from Copenhagen, formed in 2007 by brothers Daniel and Thomas Charlie Pedersen. Having now released 6 albums, their latest, Balancing Act, was released last month, February 27, 2026. The 13 songs on their latest album were written by the brothers, who also share lead vocal duties. Balancing Act was…
Brigitte Calls Me Baby’s “Slumber Party” blends nostalgic indie sound with emotional lyrics about loneliness and connection, showcasing their unique style.
Wednesday Single Review: “Slumber Party” — Brigitte Calls Me Baby
Chicago-based Brigitte Calls Me Baby’s single Slumber Party uses its playful title to explore deeper, restless emotions. The band keeps building on the dramatic indie sound that first got them noticed, with shimmering guitars, steady rhythms, and Wes Leavins’ unique crooning vocals. The song manages to feel nostalgic and modern at the same time. Musically, Slumber Party moves with a low-key…