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London-based musician Alex Peringer, known as Reckonwrong, has released his self-titled debut album 'How Long Has It Been?' after years of near silence. The record marks a departure from his early work, characterized by dizzying time signatures and wry tales, instead embracing warm, tinkering sounds and earnest sentiment.The album's theme of winter is reflected in its introspective stories and soft arrangements, punctuated by subtly wonky elements that prevent it from sounding overly polished. Tracks like 'Before and After' and 'Two Lovers' showcase Peringer's ability to blend atmospheric bedroom-pop with left-field flourishes.Influences from Arthur Russell and Robert Wyatt are evident in the album's use of echo and melancholy. Peringer's delightfully off-kilter vocals add to the charm, as he navigates themes of love, loss, and introspection. The album's eclectic sound is both captivating and emotionally resonant.In addition to Reckonwrong's album, other notable releases include Index for Working Musik's 'Bunker Intimations II' and Inrain's 'Rise', showcasing a range of experimental and shoegaze-inflected sounds.

Big Mama Thornton, born Willie Mae Thornton in 1926, was a force to be reckoned with in the music industry. Standing at 6ft 2in, with an imposing physique and a razor-scarred face, she exuded uncompromising intensity. Her voice conveyed struggle and defiance, fury and hurt, like few others.Thornton's music career began in the 1940s, performing with comedians, dancers, and musicians in the touring Hot Harlem Revue. In 1950, she was signed to Duke and Peacock Records and adopted the stage name 'Big Mama' by Johnny Otis. Her most famous song, 'Hound Dog', was written for her by Mike Stoller and Jerry Leiber and topped the R&B charts for nearly two months in 1953.Despite her early success, Thornton's career was marked by financial struggles and racism. She was often forced to perform animal-themed comedy songs and was underpaid by her manager, Don Robey. Her frustration with the music industry and her experiences with racism and sexism are etched in her voice, says Black British blues singer Dawnette Fessey.Thornton's legacy extends beyond her music. She was a trailblazer for Black female artists and an inspiration to many, including Janis Joplin, who recorded Thornton's song 'Ball and Chain'. A new documentary, Big Mama Thornton: I Can’t Be Anyone But Me, aims to right the wrongs of her overlooked legacy and celebrate her contributions to blues music.

Tracey Nelson, a NYC-based singer-songwriter, is set to release his debut album 'Hercules' on July 10. His music is described as beautifully dazed, countrified indie-rock, drawing comparisons to bands like The Clean and The Feelies. Nelson's self-titled 2025 debut EP was a lesser-heard gem, featuring tracks such as 'New Years Flowers' and 'Just Shoot Me Now'.The upcoming album 'Hercules' is co-produced by MJ Lenderman and Colin Miller, and features a lineup of musicians including Lenderman, Miller, Karly Hartzman, and Jack Kraus. The album promises to amplify the country elements of Nelson's previous work while giving him more space to explore his sound.This week's best new tracksPozer – Hulk Hogan (ft AJ Tracey): A standout track in the UK scene, delivering social realism over Jersey club beats, with an excellent verse from AJ Tracey.Zoh Amba – Another Time: A remarkable free jazz saxophonist turns songwriter, blending Appalachian roots with indie rock.One Leg One Eye – Many Are My Names Besides: A haunting track that combines scratchy drone and distorted wailing.Enter Shikari – Dead in the Water: A highlight from their new album, blending rave-rock with elements of Everything Everything and The Prodigy.James K – Peel (Loidis remix): A 14-minute remix turning ethereal dancehall-pop into snappy microhouse.Ambrose Akinmusire and Mary Halvorson – Soundcheck: Disarming trumpet playing and unsettling guitar work.Max F – Dream Channel (Space Ghost Club Remix): Life-affirming piano-centred house instrumental.

Tori Amos has taken to the stage, delivering a dramatic deep dive into her vast and sprawling back catalogue. Her 18th studio album, In Times of Dragons, and first tour in three years have generated significant excitement among fans. The allegorical tales that make up her forthcoming record – a metaphorical story about the fight for democracy over tyranny – are evident in her live performances.The concert featured a range of tracks from Amos's extensive discography, including the delicate deep cut Ruby Through the Looking-Glass and the atmospheric, slow-burn jazzy grooves of Little Amsterdam. The love in the room for Amos is palpable, with her songs, voice, and masterful piano playing bringing out an almost devotional following.Amos's musicianship was on full display, accompanied by a drummer, bass player, and three backing singers, whom she refers to as 'angels.' While their presence occasionally detracted from the raw intimacy expected from Amos, it mostly elevated the performance to new levels. Tracks such as Pandora's Aquarium and Witness were lifted to stirring new heights by the vocal back and forth.The setlist may not have been hit-stuffed, but Crucify was a beautiful closer, delivered in a way that felt both tight and loose, detailed yet expansive, tender and rousing. The encore of early career favourite Cornflake Girl had the whole venue on its feet and in dizzy awe. As Amos navigates the brutal state of the world, she has an audience that will gladly follow her deep into the heart of any dragon's den.

Cameron Picton, the bassist‑vocalist behind British art‑rock outfit Black Midi, has unveiled his first solo statement under the moniker My New Band Believe. Recorded with a cadre of improvisational musicians—including veteran drummer Steve Noble, formerly of Rip Rig + Panic—the album abandons the band’s signature wall of sound for an intimate, acoustic approach.The record opens with the gentle ballad “Still,” a track originally tucked away on Black Midi’s sprawling rock‑opera Hellfire. Here, Picton’s unadorned vocal delivery replaces Geordie Greep’s theatrical croons, setting a tone of understated sincerity that runs through the entire project.Every song is built from live‑sounding instruments: fingerpicked guitars, double bass, piano, subtle percussion and tasteful string arrangements. This stripped‑back aesthetic allows the lyrics to move away from Black Midi’s often surreal narratives toward more direct, everyday subjects. For instance, the opening track “Target Practice” retains a hint of the band’s dark humor, while “Love Story” paints a nostalgic picture of a couple cooking together, and “Opposite Teacher” reflects on the challenges of fatherhood.Even within this quieter framework, Picton injects moments of tension. The second track, “In the Blink of an Eye,” introduces dissonant chords that remind listeners that “understated” is a relative term for an artist accustomed to sonic extremes. Throughout, the songs remain episodic, with sudden key changes and tempo shifts that echo the restless spirit of Van Dyke Parks’ 1967 Song Cycle—a collaboration Picton initially pursued before budget constraints halted the partnership.Highlights such as “Heart of Darkness” weave together folk‑rock riffs, jazzy drumming and an improvised coda of feedback‑like strings, while “Actress” balances sweet melodies with dramatic pauses and volume surges, ending more as a gradual fade than a conventional finish.Compared with Black Midi’s recent releases—most notably the chaotic, genre‑bending Hellfire and Geordie Greep’s solo effort The New Sound—Picton’s debut feels more approachable without sacrificing artistic curiosity. The album’s constant motion is contained by its acoustic instrumentation, making it easier to love rather than merely admire. It resists standard song structures, defies easy categorisation, and showcases a plethora of unconventional musical ideas, all while wearing its intelligence with a lighter touch.

Afika Bambaataa, the Bronx‑born architect of modern hip‑hop, passed away at age 67 in Philadelphia early Thursday morning, with officials citing complications from cancer as the cause of death. The Hip‑Hop Alliance, chaired by veteran rapper Kurtis Blow, released a statement honoring Bambaataa’s role as a founding figure of the culture. The group praised his creation of the Universal Zulu Nation, which promoted the movement’s core values of peace, unity, love and fun, while also acknowledging the complexity of his legacy in light of recent abuse allegations. During the 1980s, Bambaataa helped define the sound of hip‑hop, most notably with the 1982 electro‑funk anthem “Planet Rock”. The track, which sampled German pioneers Kraftwerk, positioned him at the forefront of a new musical frontier and led to collaborations with artists such as John Lydon, George Clinton and James Brown. Born Lance Taylor, he launched the Universal Zulu Nation in the late 1970s, drawing inspiration from DJ Kool Herc and the solidarity of South Africa’s Zulu people. This collective became a cultural hub that spread hip‑hop’s ethos worldwide. In the early 1980s Bambaataa also performed with the electronic group Ebn Ozn, further cementing his reputation as a bridge between American street culture and European synth‑pop. His work helped crystallize the electro‑funk genre that dominated clubs across the globe. His activist side emerged in 1985 when he joined Artists United Against Apartheid to produce the landmark protest single “Sun City.” The project featured a roster of high‑profile musicians—including Bob Dylan, Bono, Bruce Springsteen and Run‑DMC—united against South Africa’s apartheid regime. Throughout the 1990s and early 2000s Bambaataa continued to record, culminating in his final album, “Dark Matter Moving at the Speed of Light” (2004). While his musical output waned, his influence on subsequent generations of artists remained unmistakable. However, Bambaataa’s later years were marred by serious accusations. In 2016, several Bronx men alleged sexual misconduct, which he publicly dismissed as “baseless and cowardly.” A former bodyguard later claimed to have witnessed inappropriate behavior involving teenage boys. The allegations resurfaced in May 2025 when an anonymous plaintiff filed a civil suit alleging four years of abuse beginning in 1992. Bambaataa failed to appear in court, resulting in a default judgment against him. As the hip‑hop community mourns a foundational artist, it also confronts the enduring debate over how to reconcile his cultural contributions with the serious allegations that have come to define the final chapter of his public life.

Paul Dano has had a remarkable career in Hollywood, taking on a wide range of roles in films like Little Miss Sunshine, Love & Mercy, and Swiss Army Man. In a recent interview, Dano shared his experiences working with Brian Wilson in Love & Mercy, and how he spent time with the legendary musician before filming.Dano discussed the challenges of playing a character who doesn't speak in Little Miss Sunshine, and how it felt to break his vow of silence in the second half of the film. He also talked about his experience working on the BBC's War and Peace adaptation, and how he read the book before filming to prepare for his role.When asked about his role as the leader of the Animal Liberation Front in Okja, Dano admitted that it changed his relationship to food, but only for a short time. He also discussed his experience working with the Daniels and Daniel Radcliffe on Swiss Army Man, calling it a fun and creative experience.Dano emphasized the importance of staying kind and grounded in the intense film industry, and how it helps him approach difficult characters with empathy. He also shared that he would most like to hang out with his characters Dwayne from Little Miss Sunshine and Brian Wilson from Love & Mercy.Looking ahead, Dano discussed his role in The Wizard of the Kremlin, a film about modern politics and power. He was drawn to the project because of its compelling and intelligent storytelling, and its relevance to current events.

On All Hallows' Eve in 1517, Martin Luther, a 33-year-old German priest and scholar, took a pivotal step that would change the course of history. He marched up to the church in Wittenberg and nailed a document to the door, containing 95 statements, or theses, protesting against corruption in the church.Luther's actions led to his excommunication and a dramatic escape, but they also marked the beginning of the Reformation. As a musician himself, Luther knew the power of music in spreading his new doctrine. He saw music as a divine gift 'next to theology' and used it to incite people to do good and to teach them.Luther's hymns, known as chorales in the German-speaking world, were simple, memorable tunes, often adapted from popular melodies, repeated verse to verse. The words were in everyday German, and the hymn tunes were harmonized with simple, block chords, making it possible for anyone to sing along.One of Luther's most famous hymns, Ein feste Burg ist unser Gott (A Safe Stronghold Our God is Still), is still sung today in churches around the world. His hymns were widely distributed using the relatively new technology of the movable type printing press, invented by Johannes Gutenberg.Luther's musical legacy continued to influence composers, including Heinrich Schütz and Johann Sebastian Bach, who composed new chorales and clothed existing ones in rich harmonies. Bach's chorale preludes, where an elaborate melodic line unfolds until the chorale tune emerges, remain iconic.The chorales have also had a lasting impact on popular music, with arrangements by artists like the Swingle Singers and Myra Hess, and even influencing 1970s pop music, such as Apollo's 'Joy' and The Beach Boys' 'Lady Lynda'.

Jon McClure, the Sheffield‑born frontman of Reverend and the Makers, has taken a seat on the board of Sheffield FC – the world’s oldest football club – after joining a new minority‑ownership group with David Bianchi. The move marks the first time the musician has taken on a formal role in a football institution.McClure, a lifelong Wednesday supporter, first approached the club eight years ago but felt he wasn’t yet “in a mature enough position” to steward a cultural landmark. Since last month he has been actively reviewing the club’s operations and seeking ways to modernise a team that currently competes in the ninth tier of English football.The appointment comes as Sheffield FC enjoys a surge in interest, having recorded a club‑record league attendance of 1,172 spectators for a recent defeat to Tadcaster. The side will host the same opponents again in a Northern Counties East League playoff semi‑final after finishing third in the division.Unlike the high‑profile takeovers at Dagenham & Redbridge or Wrexham, McClure insists his approach will be “more considered”. He acknowledges the club’s history of “years of dysfunction” and warns against “putting rocket boosters on a three‑wheeler”, emphasizing a need for steady stabilisation before growth.Founded in 1857, Sheffield FC’s claim to fame is its role in codifying the modern game – a narrative McClure says is “still under‑told”. The club boasts the first football kit, the first recorded derby and a unique FIFA order of merit shared only with Real Madrid, offering “global IP opportunities”, according to the chair.To translate heritage into footfall, McClure has introduced free entry for children, hoping to lift typical matchday crowds from 300‑400 to larger numbers. He also highlights a logistical hurdle: the club’s “Home of Football” ground sits in Dronfield, Derbyshire, outside Sheffield’s city limits, prompting a long‑term ambition to relocate to a multi‑purpose venue in the city centre.McClure’s celebrity connections are already bearing fruit. He invited Sheffield music legend Richard Hawley to a recent fixture and maintains a friendly rapport with Sheffield United manager Chris Wilder, despite the historic rivalry between the city’s clubs.In a nod to modern digital culture, McClure’s brother Chris created the viral persona “Steve Bracknall”, the fictional assistant manager of the Royal Oak. When the Royal Oak played a real match at Sheffield FC, the event drew over 2,000 fans on the ground and half a million online viewers, including Robbie Williams, branding it “the biggest game in Sunday league history”.Looking ahead, McClure is keen to expand the club’s junior and women’s programmes, envisioning an “1857 Academy” that could scale globally if built on the right foundations. While a leap to the Northern Premier League is the realistic target, the broader goal is to cement Sheffield FC as a thriving community hub that honors its status as the birthplace of football.