Glide Magazine

LISTEN: Two-Man Giant Squid Craft Playful, Synth-tinted Post-Punk On “3 Hits”

Glide Magazine — Wed, 15 Apr 2026 21:35:00 +0000

Two-Man Giant Squid have been on a prolific streak since they debuted back in 2022. With their debut project, Abyssal Gigantism, arriving that same year, the Brooklyn-bred post-punk outfit established a far-reaching sound that was stretched even further on 2023’s Intro To Basement. After cementing their place in the burgeoning post-punk scene with their 2025 self-titled LP, Two-Man Giant Squid continue their push for dominance with the release of “3 Hits.”

The latest single from the refreshing quintet finds Two-Man Giant Squid diving headfirst into a synth-based dance fusion world. While maintaining the cartoonish range that set them apart from their peers in the first place, the band parades their prowess high above their heads with a jovial, rocking new single. The band’s latest touches on the chaotic excellence of their self-titled effort but features a more robust sound, allowing them to fully lean into a sound they’ve only slightly explored before. There is something grand about “3 Hits,” like they’re inviting the listener to join in on the celebration of Two-Man Giant Squid’s recent success. The dense yet cascading synth work pairs beautifully with the acrobatic vocals and searing guitar work, combining electronic undertones with the loose definitions of contemporary post-punk. Two-Man Giant Squid is shaping up to be an undeniable member of modern post-punk, and the slightly autobiographical “3 Hits” yet again showcases a new side of this daring band.

A Band In The Post-Modern World by Two-Man Giant Squid

LISTEN: Todd Mosby’s “Land of Green” Is Stunning Jazz Fusion With Uplifting Energy

Glide Magazine — Wed, 15 Apr 2026 21:32:41 +0000

Todd Mosby is an award-winning composer, guitarist, and inventor based in St. Louis, Missouri. Mosby is known for his genre-defying musical language, where he layers jazz, folk, New Age, blues, rock, bossa nova, and North Indian classical music into richly textured soundscapes that reflect both depth and technical mastery.

Over the course of his career, Mosby has released seven albums and collaborated with many of the world’s most respected studio musicians. His work has earned multiple industry awards and critical acclaim, and he is recognized for creating music that is both intellectually engaging and resonant. Mosby’s new LP, American Heartland, is available everywhere now.

“Land of Green,” a highlight from Mosby’s recently released LP, is a beautiful introduction to the complex fusion work of this uniquely talented veteran. With the intimacy of folk, sweeping soul vocals, and romantic instrumental swells, “Land of Green” paints a vibrant portrait of exactly that. Mosby did more than grab at tropes from his favorite genres and throw them together; he went to the heart of his influences, dissecting every nuance to unearth the elements that best represent himself and his upbringing. “Land of Geen” uses jazz solos to emphasize the intricacies of this cacophony of beauty, allowing each soothing horn melody and percussion hit to stick to the sides of your brain. There is an uplifting, peaceful energy behind “Land of Green,” an early favorite from Mosby’s stunning new album.

Surfing The Tube: Hayley Williams & Jeff Tweedy Cover Unknown Mortal Orchestra; Jack Black Teams Up With The Roots & Jimmy Fallon; Flea Takes The Music Knowledge Test

Glide Magazine — Wed, 15 Apr 2026 20:12:09 +0000

Surfing the Tube is a daily recap of recent must-see YouTube happenings, from music videos and live performances to interviews and everything in between.

“Ffunny Ffrends” – Hayley Williams & Jeff Tweedy (LIVE on The Late Show)

Jeff Tweedy and Hayley Williams team up for a cover of Unknown Mortal Orchestra’s “Ffunny Ffriends” on The Late Show with Stephen Colbert.

Jack Black Shows Off His Iconic Sax-a-Boom Skills, Shreds the Guitar and Sings a Revenge Song

Jack Black performs alongside The Roots and Fallon himself on The Tonight Show with Jimmy Fallon.

Testing Flea’s Music Knowledge | Track Star*

Fresh from releasing his new album Honora, Flea has his music knowledge tested by Track Star* host Jack Coyne.

The Bruce Hornsby Interview

Rick Beato interviews Bruce Hornsby, who recently released his newest solo LP, titled Indigo Park.

They Might Be Giants Keep Digging Deep on Quirky ‘The World Is to Dig’ (ALBUM REVIEW)

Glide Magazine — Wed, 15 Apr 2026 18:47:52 +0000

For over forty years, Brooklyn’s They Might Be Giants have been crafting earwormy art rock that toys with genres, targeted age groups, and educational endeavors. For their 24th album, The World Is to Dig (whose title was inspired by a 1952 children’s book), TMBG continues their quirky style, with the two Johns just keeping up their idiosyncratic thing.

Following up their successful 2021 album Book, John Flansburgh and John Linnell once again worked with producer Patrick Dillett (David Byrne, St. Vincent, Mariah Carey) for a record that sounds crisp top to bottom. The duo’s backing band also stayed the same, with Dan Miller – guitar, Danny Weinkauf – bass, Marty Beller – drums, providing the core, and the horn section of Stan Harrison – saxophone, Mark Pender – trumpet, and Dan Levine – trombone, adding extra flair on a few numbers.

The most adventurous music arrives with the opening “Back in Los Angeles” as the New Yorkers deliver a large, jazz-laced theatrical spin behind their odd poetic ode to the town. The track features excellent drumming and lush layers of orchestral strings. Overall, TMBG aren’t in a very experimental musical mood on The World Is to Dig. While tunes like the shifting/warbling “Slow” are trippy, the band seems more comfortable with tracks like the synth-led off-kilter R&B of “Hit the Ground” and the 50’s rocking, “In the Dead Mall”, which gets its kicks by shoplifting.

A few of the more straightforward tunes turn out to be album highlights. “Wu-Tang” is an ode to the hip hop group (and overall fandom) in indie rock fashion that screams classic TMBG, silly or serious, does it matter? “Character Flaw” is a gem as well, with popping synths and “extra crazy sauce” coloring the odd bopping singalong grooves. The funky rock kicks up a notch with pumping horns on the winning “Get Down,” while “Outside Brain” is a hip swinging joy, using great harmonies and motoring drumming.

Less successfully, “What You Get” feels a bit derivative of the duo’s past songs, while some of the more one-note efforts, like “Garbage In,” don’t work as well. Neither does the band’s cover of ” Raspberries “ “Overnight Sensation (Hit Record)”, which plays detached, sapping the original’s yearning power. However, the album is full of classic-sounding TMBG tunes, such as the dreamy, easy-flowing “Sleep’s Older Sister”, the muscular revved up French outing “Je N’en Ai Pas”, the snarky “What the Cat Dragged In”, and “Let’s Fall In Lava” which uses sweet harmonies and lyrics that question the Terminator’s feelings.

One of the most smile-inducing success stories in modern pop/rock, after forty years, Flansburgh and Linnell continue to successfully deliver their eccentric brand of alt-rock throughout The World Is to Dig.

Record Store Day 2026 – Essential Jazz & Blues Releases

Glide Magazine — Wed, 15 Apr 2026 18:36:09 +0000

With Record Store Day approaching this Saturday (4/18/26), this list highlights eighteen recommended archival releases and reissues for Record Store Day in the Jazz and Blues genres.

A number of these releases—many curated by Zev Feldman—were recorded at Jazz Showcase by owner Joel Segal. The selections lean heavily toward pianists, with seven featured across the list. Most of these titles will be available on vinyl for Record Store Day, with CD and digital releases following on April 24.

Terry Callier – At the Earl of Old Town – Time Traveler – 1 LP/CD – Recorded in 1967

This also comes courtesy of Joel Segal. Callier plays alone with his acoustic guitar. He has an interesting voice and inventive phrasing, evoking Richie Havens and, somewhere between Ben Harper and Jeffrey Gaines, of today’s singer-songwriters. Liner notes from radio programmer Mark Ruffin and comments by Sunny Callier, his daughter.

Bill Evans – At the BBC – Elemental – 1 LP/CD – Recorded on 5/12 and 12/29, 1965. Evans practically invented the piano trio concept, and you’ll hear plenty from bassist Chuck Israels and drummer Larry Bunker. The program is mostly standards and Evans’s staples. The BBC broadcaster adds some information, but it becomes somewhat wearisome. Liner notes include an interview with Chuck Israels, appreciations by Jamie Cullum and James Pearson, and notes by Evans scholar Marc Myers.

Roy Hargrove – Bern – Time Traveler – 1 LP/CD – Recorded on 5/4/2000 at the Bern International Jazz Festival. Hargrove was 30 at the time, at the peak of his powers, fronting a lineup of pianist Larry Willis, altoist Sherman Irby, bassist Gerald Cannon, and drummer Willie Jone III, his working band of three years at the time. This set both sizzles and soothes as Hargrove presents one ballad. It is an exceptional performance in every way. Liner notes by Nate Chinen.

Joe Henderson – Consonance – Live at the Jazz Showcase – Resonance – 3 LP/2 CD – Recorded in February 1978. Henderson is on fire, with his hard-edged tone, and Joanne Brackeen is a McCoy Tyner-like marvel on piano. Steve Rodby is on bass with Danny Spencer on drums. This is a hard-driving, relentless set that allows all these players to stretch out. Liner notes by John Koenig with appreciations from Joanne Brackeen, Steve Rodby, Danny Spencer, and Joel Segal’s son, Wayne Segal.

Ahmad Jamal – At the Jazz Showcase: Live in Chicago – Resonance – 2 LP/2 CD – Recorded March 20-21, 1976. This makes a great companion piece to Resonance’s Emerald City Nights as Jamal fronts a trio of John Heard on bass and Frank Gant on drums. The program ranges from standards and pop material (including “Theme from M*A*S*H” no less) to bossa nova and more modern (at the time) selections (“Swahiilland”).. Liner notes are by Jamal scholar Eugene Holley, Jr., with memories from Jamal’s daughter Sumayah and appreciations from pianists Joe Alterman and Fred Hersch.

Freddie King – Feeling Alright: The Complete 1975 -Nancy Pulsations Concert – Elemental – 3-LP/2 CD

This is the bluesman at the peak of his powers, recorded just a year before his untimely death. These are mostly lengthy cover tunes and medleys that depict Freddie’s metal-edged, ferocious guitar tone and his powerful, growling vocals as he bridged both blues and rock. Freddie fronts a six-piece band of organist Alvin Hempfill, guitarist Ed Lively, pianist Lewis Stephens, bassist Benny Turner (his brother), and drummer Calep Emphrey, all of whom are given ample solo opportunities. The deluxe package features appreciations from his daughter, Wanda King, as well as ZZ Top’s Billy Gibbons, plus liner notes by music journalist and historian Cary Baker.

Yusef Lateef – Alight Upon the Lake: Live at the Jazz Showcase – Resonance – 3 LP/3 CD- Recorded mid- 1975. This may be as comprehensive a Lateef recording as one can find. The woodwind specialist plays tenor, flute, and oboe, with some tracks running 30 minutes as he fronts an exceptional quartet of pianist Kenny Barron, bassist Bob Cunningham, and drummer Albert “Tootie” Heath, all of whom shine on these live tracks. “Straighten Up and Fly Right” and the bluesy “Yusef’s Mood,” which conclude the show, are absolutely rollicking. He nods to Ben Webster and delivers great flute tracks, i.e., “Golden Goddess.” Liner notes are by Lateef biographer Herb Boyd, with interviews with Bennie Maupin and Wayne Segal.

Michel Petrucciani – Kuumbwa – Elemental – 2 LP/2 CD – Recorded at the Kuumbwa Jazz Center in Santa Cruz, CA in 1987. The 24-year-old French pianist had just signed with Blue Note. He suffered from a debilitating bone disease that often required that he be carried to the stage. Here, he plays in a trio with Dave Holland and his longtime drummer, Eliot Zigmund. Petruccuiani was well-grounded in the blues and played with indefatigable energy. The speed of his right hand is amazing, as is his whole attack. Holland solos on every piece, and Zigmund on half of them, many of which are standards. Petrucciani worked with Charles Lloyd but has long been overlooked, which is why this is worth checking out. Liners include a reflection by the pianist’s son, Alexandre, Zigmung, Italian pianist Enrico Pierannunzi, journalist Thierry Peremarti, and Kuumbwa co-founder Tim Jackson.

Cecil Taylor – Fragments: The Complete 1969 Salle Plevel Concerts – Elemental – 3 LP/2 CD – Recorded in Paris, France. Taylor and his Unit, altoist Jimmy Lyons, saxophonist/flutist Sam Rivers, and drummer Andrew Cyrille perform two marathon concerts that can be described as explosive, intense, fierce, chaotic, or any similar term. This is one of Taylor’s best bands, though undocumented. Having Rivers aboard is special. This is avant-garde at its most blistering, not for the faint of heart, but a ‘must’ for Taylor fans. Letting go of any inhibitions might mean you will find it exhilarating. Liner notes are by Taylor’s biographer Phil Freeman. Memories and appreciations are from Karen Borca, Matthew Shipp, Jack DeJohnette, and more.

Mal Waldon – Stardust & Starlight: At the Jazz Showcase – Resonance – 2 LP/1 CD. Recorded in 1979. This marks pianist Waldron’s first appearance at the Jazz Showcase at a time when he was reviving his career. As the title suggests, you’ll hear “Stella by Starlight,” Stardust, and several other standards alongside his originals, “All Alone and “Fire Waltz,” much rendered solo on the piano and some with the house trio. The mood changes dramatically when saxophonist Sonny Stitt joins for two exploratory, hard-driving tracks that close the set. Liner notes are by Howard Mandel with interviews with pianist Lafayette Gilchrist, bassist Steve Rodby, Wayne Segal, and more.

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These Should Also Be Checked Out

Ray Charles – Ray Charles Live In Concert – Tangerine – Expanded reissue of 1965 album

The John Coltrane Quartet – France 1965: The Complete Concerts – Charly – 4-LP featuring McCoy Tyner, Jimmy Garrison, and Elvin Jones

Miles Davis – The New Sounds (Mono 10”) – Craft – Miles’ first release as a bandleader in 1951 with Jackie McLean (alto), Sonny Rollins (tenor), Walter Bishop Jr. (piano), Tommy Potter (bass), and Art Blakey (drums).

Abbey Lincoln – That’s Him – Craft – Reissue of 1957 Riverside album in mono. Lineup includes Kenny Dorham (trumpet), Sonny Rollins (tenor), Wynton Kelly (piano), Paul Chambers (bass), and Art Blakey (drums).

Gil Scott-Heron – Reflections – Culture Factory- Reissue of 1981 album, backed by the Midnight Band and featuring one of his most lauded tracks, “B’Movie.”

Charles Tolliver All Stars – Right Now…And Then – Strata East – This is a newly remixed version of Tolliver’s debut album by Tolliver himself. The lineup features Gary Bartz (alto), Herbie Hancock (piano), Ron Carter (bass), and Joe Chambers (drums).

McCoy Tyner – The Seeker – Red – 2 LP This is a previously unreleased live recording from Perugia with bassist Avery Sharpe and drummer Aaron Scott, joined by vibraphonist Bobby Hutcherson. They blend Tyner originals with those from Hutcherson, along with a few standards.

Buster Williams – Pinnacle – Time Traveler – Reissue of 197 recording with Woody Shaw (trumpet), Sonny Fortune (saxophones), Onaje Allan Gumbs (piano), and Billy Hart (drums). The bassist blended straight-ahead, post-bop, and fusion, an offshoot of his work with Hancock’s Mwandishi group.

Bonus

Little Jimmy Scott – Falling in Love Is Wonderful – Tangerine – Reissue of original 1963 release with supervision and piano from Ray Charles and arrangements by the Marty Paich Orchestra. Available on 4-17, and this ballads album is perfect for a romantic evening.

Visit here for more information on Record Store Day-

The Iron Horse In Northampton, MA Proves Musical Intimacy Matters (THESE WALLS)

Glide Magazine — Wed, 15 Apr 2026 10:11:45 +0000

Opening a live music venue is a difficult process, but preserving a legacy is a different beast entirely. The crossroads of these two otherworldly undertakings land in North Hampton, Massachusetts, at the historic Iron Horse, originally opened in 1979. The iconic space has been through more lives than could fit in a book, boasting several volumes of legendary performances that are not genre-specific but built on an unwavering connection among venue, artist, and community.

While the rich history of The Iron Horse is a terrifically captivating read, the venue only lasted this many decades by keeping one eye on the future, and it continues to do so. Back in 2023, The Parlor Room Collective took over the space, and The Iron Horse has been running like an ever-evolving, well-oiled machine ever since. In the three years since taking over, the non-profit collective has achieved a delicate balance between preserving The Iron Horse’s undeniable legacy and advancing it into a new era.

Glide recently spoke The Iron Horse team about what it’s like taking on such a delicate project, where they see the future of The Iron Horse going, and how they’re bringing the spirit of their town to life. You can enjoy our full conversation below.

https://ironhorse.org

The Iron Horse has been around since 1979 and carries a lot of history in the Pioneer Valley- how do you feel Iron Horse has played a role in the creative and artistic realms of the area vs other venues like Pearl Street?

The Iron Horse grew from a small coffeehouse into what it is today, slowly and organically over the last 47 years. What has been true the whole time is that it’s a place where intimacy matters. It fills the need for human connection because you can feel the conversation between the artist and audience in real time. I think all the best music cities in the country have at least one small room that thrives on intimacy and connection. All the larger venues seem to grow from the seeds planted by venues like The Iron Horse.

In Northampton, venues like Pearl Street and The Calvin both thrived in the same musical ecosystem as The Iron Horse. That intimacy and human connection will only become more important as we look into the future. Now Pearl Street and The Calvin are closed, and The Iron Horse reopened in 2024 with a $1.6M renovation under the non-profit The Parlor Room Collective. We hope to be part of the change that allows our music scene to rebuild and hopefully get those other venues back online.

Speaking of local arts, the 12th annual Northampton Back Porch party is right around the corner. How do festivals like this affect your day-to-day at Iron Horse, and what is your role in a festival like this?

Back Porch Festival wrapped up last week, and the atmosphere across downtown was very positive. We take over 12 venues, large and small (some are churches, hotels, and yoga studios that become venues for the weekend), and bring 60+ bands to Northampton over 3 days. Signature Sounds President Jim Olsen started the festival, and The Iron Horse and Signature Sounds co-produce it.

When The Iron Horse reopened in 2024 and became a festival venue last year, it grew the fest substantially. We sold more tickets, increased artist payments, and became a greater cultural anchor and tourism destination for the city.

A festival like this changes everything for a few weeks. It becomes an all-hands-on-deck moment because it’s not just another weekend on our calendar. It’s one of the clearest expressions of what we are trying to do in Northampton – which is to make live music feel woven into the life of downtown.

Jim Olsen curates the festival, and our staff handles the day-to-day operations. From promotion and staff alignment to sponsor, audience, and artists, our goal is to make the festival feel like a coherent single event, not a pile of separate shows.

Iron Horse brings in a wide range of acts, from comedy to country, and everything in between. Is there any connective tissue that strings all of these artists together? What do you look for when bringing an artist to The Iron Horse?

The connective tissue isn’t really genre, it’s quality and human connection. Ensuring that we have a room full of people who feel connected each night is what makes every show at The Iron Horse special.

Being that Northampton is a ways away from Boston, do you find it difficult to bring national touring acts out your way? How does your location affect your booking process? What genres or types of artists do you feel most connected with at the venue?

All bands must decide which markets to target on a tour. Western Mass is a great stop. I grew up traveling to Western Mass from Hartford, CT, because this was such a cool scene with so many great venues, with The Iron Horse leading the way for so many years. That history has lived on in our musically-literate valley.

Because of this, many bands with long touring histories make sure to stop in Northampton. But now it’s our job to ensure that continues to thrive for new bands, and we must continue working with other venues to keep the valley a thriving scene.

Photo Credit: Carly Rae Brunault

Are there any local bands that consider Iron Horse their “home” venue? Are there any local bands/artists you think could make it big in the near future?

So many artists, both local and touring, feel a deep connection to The Iron Horse. So much so that sometimes I feel like an intruder in their space! But that’s how it should feel. The artists bring the magic to the room, and we want to provide a space that respects them and makes them want to return.

As for artists I am excited about, Kimaya Diggs is an obvious one. She is a major talent and already has that combination of songwriting, presence, and range that can travel far. I am also excited by artists in our orbit like Cloudbelly, Prune, The Clement Brothers, and more.

On the topic of “big”, are there any musicians that started out small but now have a significant following that you like to talk about who once played The Iron Horse?

Absolutely. That is one of the great joys of talking about the Horse. It seems like almost every hard-touring musician played the Horse on their way up, from Tracy Chapman and The Smashing Pumpkins to Beck and David Byrne. There are stories of Eddie Vedder playing on stage with a mask so he wouldn’t be recognized (don’t know if it’s true…). Wynton Marsalis played 10 shows in five nights at one point. Chappell Roan opened a show at the Horse in 2018, and Maggie Rogers headlined about a year before that. The Avett Brothers and Brandi Carlile played The Iron Horse in the same week in 2008.

That is part of why the room means so much to people. It has always been a place where major artists could still feel close enough to touch, and sometimes where you caught them right before the rest of the world did.

Can you tell me more about the Musicians’ Workshops that you guys host? How did these get started, and what sort of classes do you guys offer?

When we acquired the Iron Horse as a non-profit, we wanted to ensure we were contributing to the ecosystem it needs to thrive, not just by putting on shows, but by inspiring musicians and helping them build careers. So we try to offer classes and workshops that provide an on-ramp to that.

We held a 3-day songwriting workshop with Heather Maloney, which was connected to the Back Porch Festival. Nearly 40 songwriters created songs all weekend, and then they performed at The Parlor Room during Back Porch Festival a week later.

It would be a beautiful thing to see one of those songwriters sell out The Iron Horse one day. That’s the full-circle ecosystem I hope we can help build.

We have hosted hundreds of other classes and workshops, from beginner guitar and banjo to sound engineering and music photography. As we understand our community’s needs, we are looking to maximize our impact.

Photo Credit: Carly Rae Brunault

Can you talk about your sound setup and equipment, and how they differ from other venues of your size?

I outsourced this to our house engineer, Jared Libby, who has led a team that makes The Iron Horse sound crisp and warm every night across genres and audiences. He tells me our PA system features Massachusetts-built speakers from Fulcrum Acoustic. Rather than focusing on maximum power, we selected a (coaxial point-source) system to deliver clear and even sound around the room.

How has the music scene in your area changed over the last 40 years, since it started when there was a scene with bands like Dinosaur Jr and Pixies helping make Western Mass a place to be heard… What local artists are you most excited about?

Don’t forget The Blue Jean Committee! But there are some real standouts nowadays as well, coming out of our scene. Olive Klug is a new signing for Signature Sounds (which shares an office with us). They have a real stage presence and a voice that cuts through the noise. Also Cloudbelly, who writes cinematic folky tunes with an indie rock edge; Lily Fitts, a recent UMass graduate who is having a moment nationally in the indie pop scene; Beau Sasser, who remains such an important Northampton presence and plays our monthly funk night; and there’s Prune who plays a kind of grungy rock that feels like it was birthed in the mill factories dotting the rivers here in New England. One thing I love about the current moment is that the calendar keeps mixing artists like that with student showcases, discovery series shows, and late-night sets. That is how a scene stays alive instead of just becoming nostalgic.

VIDEO PREMIERE: Devlin and the Harm Embark on a Sprawling Psychedelic Rock Journey with “Kingdom Comes”

Glide Magazine — Wed, 15 Apr 2026 08:23:00 +0000

“So many tragedies seemed to shape this record. In the middle of our second recording session, Michael Nussbaum finished his drum parts and went on a paragliding trip, during which he had a near-fatal 100-foot fall that broke his back. My Dad suffered from kidney failure and was put on dialysis, the world descended into a parade of idiocy, and just as we were finishing the record, my Dad was put on a ventilator, was rushed to the ICU, miraculously recovered, and just as it looked like he’d be coming home, he passed away.”

Finding hope in personal and cultural tragedies has always shaped Devlin McCluskey’s work. His previous band, The Dead Ships, was one of the most electrifying to emerge from the LA garage rock scene in the last decade. Their sprawling songs melded McCluskey’s grief over his best friend’s suicide with fortuitous visions of the rise of fascism in America. Named LA’s best band by LA Weekly, and hailed by NPR as the new sound of West Coast anthems, they became a must-see live act even before their explosive Coachella performances.

Now, Devlin is venturing into new sonic territory, teaming with Grammy-nominated mixer/producer Alex Newport (Death Cab For Cutie, Bloc Party, At The Drive-In), drummer Michael Nussbaum, and a local supergroup to form Devlin and The Harm. Together they fuse McCluskey’s raw energy, melodic hooks, and reflections on sobriety, love, death, and a fractured America, with Newport’s vintage studio mastery & orchestral arrangements. The band’s self-titled album is a bold symphonic sound that pushes the boundaries of 70s rock, garage soul, and indie baroque pop, while exploring the connection between personal and cultural battles, and showcasing the intensity that gave The Dead Ships their rep as one of the best bands on the West Coast.

The album is due out May 22nd (PRE-SAVE).

Today, Glide is offering an exclusive premiere of the standout track “Kingdom Comes” along with its accompanying music video. The tune is a smoky 60s march that explodes into a swirl of eastern guitar lines, spaghetti western strings, Spanish horns, McCluskey’s howls, and Claire McKeown’s haunting soprano siren call. With its cinematic vibe and tragic undertow, the song rocks and rolls with cool abandon and echoey crooning to haunt and enchant the listener. There is a soaring power to the music that seems to expand across a rich sonic landscape, loaded with fuzzy guitar swells, eerie vocals, exotic strings, and drums that hit like thunder before the final burst and ultimate acoustic come-down from this wild trip.

Devlin McCluskey describes the inspiration behind the tune and the video:

“I hate to admit it but this song was a turning point for me. My last band faded away, I’d lost touch with my friends, we were in this new dark era of American Society, and I just felt like if I didn’t squeeze with all my might I’d float off into the abyss. I’d tried to write songs in the past that explore themes of sobriety, white knuckling, shame, failed relationships, and sort of battling personal demons while society crumbles in the background, but I never quite found the sound that makes me feel the depth of all those things. I wasn’t looking to start a band, but Kingdom Comes became a guiding light for the kind of music I wanted to make. It’s the first song I send to anyone I hope to work with, it was the song that made Alex Newport want to produce the album, and I don’t know if it’s the best thing I’ve ever written but it’s certainly the first song I want to listen to on these dark cloudy days.”

I’ve been a video editor for as long as I’ve been making music, and have messed around with crude animations and stop motion for years. The idea for the video came from wanting to capture the dark nostalgia and cinematic feel of the song, and try to allude to feelings of the current reactionary global hellscape. But I didn’t have the resources to shoot something grandiose.

I’ve been slowly working on it for three years, photoshopping and layering different stock images shot by shot. And in that time, it became very important to me not to use any AI. I taught myself some basic blender and found all sorts of little tricks to make these rudimentary animations a bit more cinematic.

I doubt the story or concepts make sense to anyone but me, but i suppose i hope it makes some emotional sense to the right people, or at the very least you dig the style and tone of a black/white/red and orange nightmare.

WATCH:

Phoenix’s Polished Indie 2004 Indie Rocker ‘Alphabetical’ Gets Special Vinyl Reissue For Record Store Day 2026 (ALBUM REVIEW)

Glide Magazine — Wed, 15 Apr 2026 05:42:21 +0000

Coming off the buzz of their debut United, Phoenix returned in 2004 with Alphabetical, a record that trades some of that scrappy indie energy for a more controlled, polished approach. The Versailles band leans harder into groove here with tight basslines, clean guitar tones, and a subtle nod to R&B that gives the album a smoother, more deliberate feel. It’s not as immediately punchy as the debut, but it gives a further glimpse into what would become Phoenix’s signature sound. For the first time in almost a decade, Alphabetical is being reissued on vinyl by Rhino Records for Record Store Day 2026. The RSD Exclusive is pressed on silver vinyl and limited to 3500 units.

“Everything Is Everything” opens with a locked-in groove. The bass sits front and center, moving steadily alongside crisp, straightforward drumming. The guitars are clipped and clean, adding small accents rather than dominating the mix. “Run Run Run” follows with a lighter feel, but the structure stays tight as subtle keyboard layers fill in the gaps while the rhythm section keeps things grounded. “I’m an Actor” leans into repetition, with looping guitar figures and a steady, almost metronomic drum pattern. The band sticks to the groove rather than building toward a peak, giving the track a different kind of pull. “Love for Granted” and “Victim of the Crime” bring in a slightly heavier tone, with more emphasis on bass movement and muted guitar work. “(You Can’t Blame It On) Anybody” is driven by a simple but effective drum pattern, with the bass doing a lot of the melodic work. “Congratulations” strips things down even further, using minimal percussion, sparse guitar, and a vocal that sits right up front. “If It’s Not With You” and “Holdin’ on Together” keep the same steady pace. The guitars remain clean and rhythmic, rarely pushing forward, while the drums stay tight and restrained. The title track “Alphabetical” closes things out in a similar way, with smooth basslines, light keyboard touches, and a consistent tempo that matches the rest of the record.

On this silver vinyl pressing, that clarity really comes through. The separation between instruments is strong, the bass sits deep but defined, the drums are crisp without being overly punchy, and the guitars maintain that clean, almost polished edge. It’s a record that benefits from this kind of presentation because (as with everything Phoenix does) so much of it depends on precision. Alphabetical doesn’t aim for big peaks. Instead, it settles into a steady groove and sticks with it. It’s a transitional album, but an important one, showing Phoenix dialing in the sound they’d refine even further on the records that followed.

The Cure’s ‘Acoustic Hits’ Gets Robert Smith-remastered Vinyl Treatment For Record Store Day 2026 (ALBUM REVIEW)

Glide Magazine — Wed, 15 Apr 2026 05:36:19 +0000

Released as a companion piece to 2001’s Greatest Hits, Acoustic Hits strips The Cure’s catalog down to its core and puts the songwriting front and center. Recorded at Olympic Studios in London during the same sessions, these versions remove most of the band’s signature production (no dense synth layers or effects), just acoustic arrangements that highlight melody and structure. For Record Store Day 2026, the set returns newly remastered by Robert Smith and pressed on 2LP silver bio vinyl by Rhino Records, giving this once under-the-radar release a more fitting spotlight.

“Boys Don’t Cry” opens with a softer, more reflective tone compared to the original’s urgency. The acoustic guitar sits up front, and Smith’s vocal feels a little more worn-in. “A Forest” maintains its tension even without the driving rhythm, relying more on pacing and space. “Let’s Go to Bed” and “The Walk,” both originally built on synths, are reworked into more grounded versions where the hooks come through more simply. “The Lovecats” still has its playful feel, though it feels more restrained here. “Inbetween Days” and “Close to Me” benefit from the stripped-down setup, with their melodies coming through clearly, unadorned. “Why Can’t I Be You?” loses some of its bounce but holds together as a straightforward pop song, while “Just Like Heaven” keeps its lift, even in a quieter arrangement. “Lullaby” closes the first half with a more subdued and slightly darker tone.

The second LP leans into later-era material. “Lovesong” works naturally in this format, with its direct structure fitting the acoustic setup. “Never Enough” and “High” are more low-key takes that smooth out some of the original energy. “Friday I’m In Love” is dialed back but still recognizable through its chord progression and vocal phrasing. “Mint Car” and “Wrong Number” feel like deeper cuts in this context, but the hooks still land. Acoustic versions of the previously unreleased tracks “Cut Here” and “Just Say Yes” finish the set, both noticeably more restrained than the much more rock-fueled versions on Greatest Hits.

Acoustic Hits works best when viewed alongside Greatest Hits. Where that collection captures the band at full scale, with all the production, effects, and energy that defined their sound, this set pulls everything back and lets the songs stand on their own. The remaster keeps things clear and balanced without losing the intimacy of the original recordings, while the pristine vinyl pressing really lets every note come through. For longtime fans, it offers a different perspective on familiar tracks, and for newer listeners, it’s a solid way to hear just how strong these songs are without anything in the way.

Weirdo Wednesday: CAN Slows It Down On “Bring Me Coffee or Tea”

Glide Magazine — Wed, 15 Apr 2026 05:10:28 +0000

“Bring Me Coffee or Tea” stands as one of the more subtly strange entries in Can’s catalog—not for any wild experimentation, but for how disarmingly normal it might sound.

Coming off the jagged funk and forward momentum of tracks like “Vitamin C,” Damo Suzuki pulls things way back here. Gone are the manic, stream-of-consciousness outbursts—instead, he sounds distant, almost half-asleep, repeating simple, everyday lines like “bring me coffee or tea” until they take on an oddly surreal weight.