Glide Magazine

CAUSTIC COMMENTARY: Thundercat, Bruce Hornsby, Maria Taylor, Sun O))), Market East & More

Glide Magazine — Fri, 03 Apr 2026 11:40:03 +0000

It is hard to believe we’ve arrived at our first Caustic of April, but thankfully, for both our loyal readers and us, the release schedules have kept up with the ever-increasing speed at which the sand of time trickles to the bottom of the hourglass. Yes, 2026 is moving by at lightspeed, which makes the ancient practice of digesting new music all the more necessary, as these albums and songs seem to be the only consistency in these times. This week, we have magnificent returns from some of the music world’s most beloved contributors, anticipated releases that lived up to every second of the wait, and a few singles from some albums that are set to keep this hot streak of New Music Fridays alive.

You can check out Glide’s picks for the week’s best new music, and be sure to follow April’s Caustic Spotify playlist to keep updated on busy Fridays like this one.

Thundercat – “What Is Left To Say”

Distracted

Arriving exactly six years to the date of his last studio album, 2020’s It Is What It Is, the latest studio effort from Thundercat is a mesmerizing display of artistic maturity and poetic empathy. Distracted tackles the idea that being so isn’t always a bad thing, and how the concept of being unfocused advances at the same rate as technology, as the artist brings his signature falsetto across 15 spellbinding examples of contemporary neo-soul that are stubbornly present. “What Is Left To Say” employs hints of yacht rock and nostalgic Brit-pop to emphasize Thundercat’s warm vocals and heartfelt songwriting.

Joe Pernice – “Is It Serious”

Sunny, I Was Wrong

On Sunny, I Was Wrong, his first solo project in six years, Pernice Brothers’ Joe Pernice reenters the spotlight on his own for a confessional LP. The veteran songwriter continues to expand his colorful career with eleven uncompromising examples of his profoundly poignant poetry paired with Americana instrumentation. “Is It Serious” is a soulful highlight that takes the things haunting Pernice and spins them into a longing-fueled ballad.

Bruce Hornsby – “Alabama”

Indigo Park

Iconoclast Bruce Hornsby pulls his legendary career into yet another new chapter with the release of Indigo Park. The beloved solo musician and sought-after keyboardist emerges with more cheeky, playful compositions that prove his creativity has remained untouched throughout his fruitful career. “Alabama” toys with expectations, as Hornsby’s nimble vocals navigate unpredictable piano melodies and subtle ambiance.

Charley Crockett – “Lonesome Dove”

Age of The Ram

Over the past year, acclaimed country troubadour Charley Crockett has released two albums that are a part of something he’s calling The Sagebrush Trilogy, and the third and final installment has arrived. The Shooter Jennings-produced Age of the Ram is the ethereal, twenty-song, mixtape-style finale of this trilogy, delivering the artist’s vibrant storytelling through a dream-like lens while harkening back to his roots. “Lonesome Dove,” an early favorite, is an incredibly moving performance with Crockett’s vocals dancing around twangy simplicity with charm and grace.

Arlo Parks – “Nightswimming”

Ambiguous Desire

The highly anticipated third studio album from pop provocateur Arlo Parks has finally arrived, and the championed artist is diving headfirst into subdued dance anthems. Ambiguous Desire captures the essence of a low-key nightlife scene, opting for more nuanced grooves that still glimmer under the sullen atmosphere of these 12 songs. “Nightswimming” takes you on a ride to a secluded hangout spot, where Parks’ hushed vocals are free to roam around the somber, danceable energy.

Sun O))) – “Does Anyone Hear Like Venom?”

Sun O)))

Metal experimentalist Sun O))) have found a new home on Sub Pop Records, yet their debut for the legendary label proves to be a return to form for the established innovators. Their self-titled LP, the first to credit the original duo as the only musicians, is as bare-bones as their droning, guitar-driven sound gets, sporting only six compositions that stretch to an hour and a half. “Does Anyone Hear Like Venom?” pounds from the speakers with a low, unignorable hum that quickly wraps around the listener, providing a warm blanket made of alien fabric.

Maria Taylor – “Be Careful What You Want”

Story’s End

Singer/songwriter Maria Taylor has officially released Story’s End, her first collection of new music in seven years, and the pop-tinted folk ambiance is the immersive listen we’ve been waiting for. These 10 songs mark the beginning of a new era for Taylor and her career, as she makes her label debut with Million Stars with a cinematic LP that is as captivating as it is intricately delicate. “Be Careful What You Want” employs nuanced jazz influences that emphasize Taylor’s expressive lyrics.

Market East – “Italian Market Wine”

French Street

Since launching themselves into the contemporary soul pantheon with their 2010 EP, Philadelphia’s Market East has kept a low profile, but the whimsical magic contained on their anticipated debut might disturb the mystique. French Street is an elegant, breezy display of Market East’s singularity, as their 12-song debut from Eraserhood Sound reimagines the history of Philly soul through the lens of three daring musicians hellbent on creating something they can call their own. “Italian Market Wine” is the transportive highlight that transforms the room into a classy ballroom affair, capturing the essence of the moment you catch eyes with someone and ask for a dance, as blaring horns anchor the heavenly harmonies to reality.

Earl Sweatshirt, MIKE & SURF GANG – “Kirkland”

POMPEII // UTILITY

After scattering collaborations throughout their respective careers, Hip-hop pioneers MIKE and Earl Sweatshirt team up with producer collective SURF GANG for a double disc á la Outkast on POMPEII // UTILITY. With MIKE taking the first disc and Sweatshirt taking the latter, all under the watchful gaze of SURF GANG’s soulful trap instrumentals, the duo piece together a daring contemporary Hip-hop outing with the same fearlessness that pushed them to the forefront of their genre. The short yet potent “Kirkland,” from MIKE’s side, featuring Sweatshirt himself, scratches the surface of the sonic terrain this collection of trailblazers built, with SURF GANG’s signature drums bleeding into a lush atmosphere, creating the perfect canvas for the two vocalists.

Okonski – “Flying” (Feat. Cochemea)

Single

The improvisational jazz trio, composed of members of Durand Jones & the Indications, Okonski, returns with their second single of 2026. Along with fellow jazz innovator Cochemea, “Flying” is a moody example of Okonski’s poetic approach to instrumentation, while their guest delivers silky brass melodies to accompany the band’s now-signature tones. “Flying” arrives on the heels of February’s “Easy.”

face of ancient gallery – “Green Wood”

Like Kites

Bloodsports’ Jeremy Mock is gearing up for the release of Like Kites, the sophomore effort from his solo project, face of ancient gallery. With Like Kites set to arrive on May 1, the artist releases “Green Wood,” an atmospheric preview of this LP. The latest single is ambient folk at its most palpable, with the artist’s raw vocals pairing beautifully with the searing strings and glistening acoustic plucks.

Of Montreal – “When”

Aethermead

Beloved and long-standing indie pop outfit Of Montreal push into their 30th year as a band with the announcement of a new album and its lead single. Aethermead, Of Montreal’s 20th LP, is set to arrive on June 5, and the blistering, subtly sultry “When” is our first preview of the new album. The lead single is a noticeable sonic shift from the previous few LPs from the Kevin Barnes-led outfit, with a distinct punk twist and newfound blunt songwriting pairing beautifully with the artist’s consistently evolving vocals.

knitting – “I Want to Remember Everything”

Souvenir

After crashing onto the indie rock scene with a distinct style tinted with shoegaze and emo with the release of their 2024 debut, knitting have announced their long-awaited sophomore effort. Souvenir is set to arrive on June 26, and the lead single is already showing signs of a more mature, honed sound from the youthful band. “I Want to Remember Everything” is a poignant display of knitting, with their distant yet impactful vocals crawling over warping guitar riffs.

Futurebirds – “Sleepless in the Cage”

Far Out Country

In the nearly two decades since they emerged from Georgia with a refreshing psych-country sound, Futurebirds are set to return with their first double-album in 2026. Far Out Country, set to arrive on June 5, will feature two discs of new songs from the band and follow up on the release of 2024’s Easy Company. To accompany the announcement, Futurebirds released a three-song EP called Sienna Life, with “Sleepless in the Cage” standing out as an anthem for the restless, intertwined with Futurebirds’s jam-style approach to country.

Low Cut Connie – “Oh Yeah”

Livin in the USA

With the release of his new LP, Livin in the USA, set to be released on July 3, Low Cut Connie releases the third preview of the album. “Oh Yeah” is a nostalgic rock anthem with honky tonk tendencies, creating a ripping, jam-style single that is unforgettable and exhilarating. This is the third single from Low Cut Connie’s upcoming album, joining the politically-charged title track and the more radio-friendly “Little Freakers.”

Joe Pernice Brings Melody, Restraint, and Emotional Clarity to Solo LP ‘Sunny, I Was Wrong’ (ALBUM REVIEW)

Glide Magazine — Thu, 02 Apr 2026 20:21:00 +0000

Joe Pernice has been playing an uncompromising brand of indie music for more than three decades now. He dug into alternative country with the Boston-based Scud Mountain Boys before switching to a more indie rock/pop sound with the Pernice Brothers. But it’s his latest—and first—solo studio effort, where he strips it all down for a mellower, often somber vibe that is as beautiful as it is thoughtful.

The album opens with the pristine and surprisingly sardonic “Peace in Our Home,” with Pernice gently singing the title over light acoustic guitar and immaculate harmonizing backup vocals before adding the stinging “…when you’re gone” to punctuate the song. “Deep into the Dawn,” the following track, is just as mellow, with Aimee Mann dueting. “If You Go Back to California” opens with a twangy slide guitar, echoing some of the Scud Mountain Boys’ earliest songs and featuring some of Pernice’s most emotive vocals on the record. But it’s the title track, featuring gently plucked guitars, that finds Pernice at his most vulnerable, his voice just above a whisper and almost shaky at points, adding to the unguarded charm and underlining the lyrics before the strings come in.

Aside from Mann, Pernice brought in Teenage Fan Club’s Norman Blake to help sing on the piano-heavy “I’d Rather Look Away,” and Jimmy Webb on the maudlin album closer “It Got Away From Me.” The album’s standout collaboration is “It Won’t Be Me” with Rodney Crowell—a beautiful, mid-tempo, folk-leaning track built on an immaculate mix of fingerpicked guitar and piano. Pernice’s vulnerable, sincere vocal pairs effortlessly with Crowell’s warm, soulful presence, elevating an already strong collection.

Rather than reinventing himself, Pernice refines everything that has made his work endure—melody, restraint, and emotional clarity. The result is a solo album that feels both intimate and essential, a reminder that his understated approach remains as powerful as ever. It stands among the most affecting entries in his already remarkable catalog.

Surfing The Tube: Bruce Springsteen And The E Street Band Kick Off Tour; Weezer Shines Again; Tom Misch Celebrates Recent Album Release

Glide Magazine — Thu, 02 Apr 2026 19:30:41 +0000

Live From Minneapolis (3/31/2026)

On Tuesday, Bruce Springsteen and The E Street Band kicked off their politically oriented Land of Hope & Dreams American Tour in Minneapolis. Fittingly, Springsteen opened with a cover of Edwin Starr’s 1970 protest anthem “War”.

Weezer – Shine Again (Official Lyric Video)

Weezer shares the lyric video for their brand new single “Shine Again”, which serves as the first track to be released from their mysterious upcoming album. Although the album title and release date have not been announced, one juicy piece of info Weezer has shared is that the album is fully produced by Klas Åhlund and legendary hip-hop producer Kenny Beats.

Tom Misch – Fear Can’t Hurt Any More Than A Dream (Official Audio)

Tom Misch continues to celebrate the release last week of his album Full Circle, this time with a lyric video for the song “Fear Can’t Hurt Any More Than A Dream”. Although a full tour has yet to be announced, Misch will be playing a show tonight in London.

LISTEN: Basciville’s “Love In The Time Of The State” Is Vulnerable Folk-rock With Moving Poetry

Glide Magazine — Thu, 02 Apr 2026 18:21:09 +0000

Equal parts band and production duo, Basciville have spent the past few years as quiet powerhouses in the Irish music scene, collaborating, writing, and producing with artists including The Ocelots and Ailbhe Reddy. Their own output to date includes the EPs Blue in Red and For All Lost Youth, as well as their acclaimed full-length debut, Hymns to the Air.

Known for blending folk, art rock, orchestral swells, and lyrical introspection, their sound moves between sparse minimalism and expansive arrangements, always led by a desire to soundtrack both the personal and political unrest of modern life. Their anticipated new album, Love in the Time of the State, arrived on March 13 and is available everywhere now.

Now that we are a few weeks removed from Basciville’s latest LP, the title track seems to stand tall and proud amongst this impressive track list. “Love In The Time Of The State” is a slow-burning, emotionally palpable performance, with sentimental vocals that cascade around an arrangement that builds with the care one would use with a child. There is a vulnerability to this song that reaches deeper than the raw honesty of its lyrics. The downtrodden arrangement, despite its melancholy piano opening and gradual evolution into a cathartic indie rock tune, remains a dark cloud looming over our already dejected hero as they poetically navigate this defeated state of mind. “I’m not sad, but I’m not well” recurs throughout “Love In The Time Of The State,” serving as an anchor for this heartbreaking sonic journey. The title track to Basciville’s latest is only a preview of the magic on Love in the Time of the State, a terrific album from a refreshing act.

LISTEN: Vansire Returns With Bright & Sentimental Pop Excellence On “For the Moment”

Glide Magazine — Thu, 02 Apr 2026 18:13:33 +0000

Vansire, the project of Minnesota musicians Josh Augustin and Sam Winemiller, crafts breezy indie-pop songs that feel modest in a Midwest way yet intricate and sticky, capable of hooking onto spaces and emotions without receding into the background. Since high school, coming up on 2010s chillwave and slacker rock listening to artists like Beach Fossils and Toro y Moi, their knack for melody and atmosphere has developed naturally across a catalog of beloved, self-produced and self-released albums and EPs, international tours, and genre-crossing collabs from Barrie and MUNYA to Pink Siifu and Mick Jenkins.

The duo’s latest LP, Taking Solace, is set for release on June 5th, and finds them reaching for love as a means of comfort and connection, a balm as society’s edges ever-sharpen. Toeing the line between melancholy and optimism with some of their strongest, most mature and straightforward songwriting, Vansire frames the act of taking solace as valid, positive, even political.

“For the Moment,” the latest single from Vansire and our first preview of the duo’s anticipated new LP, is an infectious, nimble display of their individuality. With the soft thuds of the percussion and the lively yet relaxing, colorful vocal performance, Vansire makes their return known with an unforgettable single. “For the Moment” toes the line between danceable and sentimental, finding a home under both the warm glow of suburban streetlights and the pulsating strobe lights of a dance club. Even with its palpable pop tendencies, Vansire’s latest is far from a reach at playlist placement or radio airwaves. The duo’s new single is as soulful as pop comes, as the hypnotic vocals parade around the minimalistic yet potent arrangement with grace and care. Taking Solace is already shaping up to be a special release for Vansire, as the lead single indicates an artistic evolution that is still rooted in the duo’s singularity.

For the Moment by Vansire

Ashnikko Ignites St. Paul’s Palace Theatre with High-Voltage Pop Spectacle (PHOTOS)

Glide Magazine — Thu, 02 Apr 2026 16:18:00 +0000

Ashnikko brought pure, electrified chaos—in the best possible way—to the Palace Theatre in St. Paul on March 31, 2026, lighting up a nearly sold-out, all-ages crowd on the Smoochies tour. The night opened with a short but impactful set from Princess Nokia, immediately setting a bold, high-energy tone.

From there, Ashnikko took full command with a wildly theatrical, sexually charged performance that blurred the boundaries between hip-hop and pop spectacle. Fans arrived in force—and in striking fashion—sporting colorful, imaginative outfits that mirrored the vibrant energy onstage. With choreographed dance routines, vivid visuals, and relentless movement, the show felt less like a traditional concert and more like a surreal, fever-dream performance piece.

The setlist leaned heavily on newer material while still delivering the fan favorites, with explosive highlights during Slumber Party and Daisy, both of which sent the crowd into a full-on frenzy.

Photo by Billy Briggs

Ryan Solee of The Builders and The Butchers Dances in The Wreckage of ‘No Tomorrow’ (ALBUM PREMIERE/INTERVIEW)

Glide Magazine — Thu, 02 Apr 2026 15:06:43 +0000

Portland-based band The Builders and The Butchers will be releasing their new album, which marks their seventh, on April 3^rd, via Badman Recording Co. It’s titled No Tomorrow, and as the title might suggest, it has plenty to do with the current apocalyptic feeling of existence. And yet, within the fiery imagery and doom, there is the energy of humanity determining how they will act and relate to each other under such circumstances. There’s a sense of taking stock on the album, of determining what can be salvaged from the wreckage.

Following the success of their previous album, Hell & High Water, which had a particularly strong live show existence, the band had a few different things in mind for No Tomorrow, including bringing in more strings and varying songs between more acoustic and more electric approaches. Along with the new tracks and experimentation of No Tomorrow, the world of the band’s music is being expanded by the creation of a tabletop game called Devil Town, funded on Kickstarter by Long Tail Games. The Builders and The Butchers also have big plans for their album release show in Portland at the Aladdin Theater on April 16th, where they will be joined by members of the Portland Cello Project to bring the new songs to life.

Today, Glide is excited to offer an exclusive premiere of No Tomorrow in its entirety. I also spoke with the Butchers’ vocalist/guitarist/songwriter Ryan Solee about the global and national social climate’s impact on this new album, the welcome influence of a new vintage guitar on his songwriting for this collection, plans for live shows, and more.

It may sound funny for me to say this about such an apocalyptic album, but I’ve really enjoyed listening to it. It made me laugh a little to realize that, because it’s a very dark album, and I didn’t just find it interesting, I fully enjoyed it.

Thank you! I really appreciate that. We’ve been a band for a long time, and we kind of have this thing that we do. The songs come from wherever they come from, but for me, it’s like therapy if I don’t work it out. Is it just good for me to work it out through song, instead of other means? [Laughs]

I think one of the reasons that I enjoyed listening to it so much is that this is how the world feels to me right now. And I felt like, “This is real. Let’s just say it out loud.”

Totally. I feel like, with the Trump reelection and all the things that came after, people were just too exhausted to say anything, or didn’t want to because it was a bummer. But now, we’re in a place where we have to get our shit together, organize, and be in community. That’s what I’m feeling a little more in this moment. People are saying, ” Okay, what can I do? How can I help people?

There’s been time to get out of the shock mode a little bit, but the question is: What does our survival look like? Can it be cultural survival rather than just basic survival?

Yes, and you hope that the pendulum swings back and we find the line to be drawn, to say, “We’re not doing this anymore.” Where is that line? If it takes someone being a pedophile to draw that line, then so be it.

badmanrecordingco · No Tomorrow

How did you decide to name this album No Tomorrow? I think that’s an amazing way of hinting at an apocalypse.

That’s been the band’s whole thing. I’m not a Christian, but the band has been deeply inspired by the ideas around Revelation and the idea of an end. How can we be humans as that’s going down? How can we treat each other well, as that’s going down? It’s really, really difficult to write a good political song anymore, I feel. All of the best ideas have been used, and things got said in the 60s which you could say again, but they’ve been said.

I tend to like a more opaque song, which says, “It’s okay if you don’t think this way, but I think everybody deserves some grace.” And let’s really look at who our enemies are, and it’s not millions of people, it’s just a few people who have hoodwinked other people into thinking their way. People are scared and angry, and they make bad choices when they are.

I would add that there is a portion of people who benefit from the craziness, and so stand by and let it happen.

Oh, absolutely. That’s a tale as old as time to pit one group of people against another group of people.

As a songwriter, I doubt you’re consciously thinking of these things when you write, but the writing is coming out of this climate and furor.

Yes. It leaks in, but it’s not overt. If you have your head in the sand and don’t know what is happening, maybe you could work without it, but I have two kids, so it’s just in my face every day. There’s a big sign outside their school that says “This school is a safe place for families of color,” because of the ICE raids down the street. What the fuck is happening?

I see a commonality on the album in terms of the sounds that you’re working with, but it’s so closely enmeshed with the feeling and ideas of the songs that it seems unique among the albums that you’ve released.

I appreciate you saying that. When you’re creating a vibe musically, that’s going with the melodies, it’s trying to marry those things. There are a lot of times in the recording process when you’ve got a lyric here, and a weird harmonica there, and that’s not the vibe, and it’s not going right, so you have to get rid of that instrument, and try another instrument. I feel like voices and instruments are so indicative of a mood. We have a new viola player, too, who’s been a friend of the band a long time and has been with us on tour. When you start putting strings on things, it really changes the whole dynamic and the way you feel when you listen to it.

There’s also a whole lot of intricate guitar work. I got a really nice guitar in the last few years, which I can actually play things on that I couldn’t before, so that’s expanded my guitar repertoire. It’s been fun to grow that way, since I’m 47, but it’s been cool to get a little better at your instrument so late in the game.

That always needs to happen, if it can. It’s a lifelong thing. What kind of guitar is it?

It’s a hybrid. It’s an archtop Gibson parlor guitar from the 1950s. It’s an electric, but I can play it around the house and hear it. The action’s so light. I don’t know how else to say it, but whenever I pick it up, I write something that I like. Sometimes those instruments and your DNA fit together so well that you say, “It’s like this guitar was made for me!” It’s almost like a romance. [Laughs] It’s just vibey, and it writes songs. It’s not me, it’s just the guitar!

I’ve had many people assure me that guitars have songs in them. And if you shift guitars, be ready for something new. And if it’s an antique, even better.

It’s like 80 years old, and it plays like a dream. I got it from a friend who didn’t play it, but said, “I know that you will love this.” So it all worked out, and I was very thrilled to have it.

Do you need to use it live to play those songs?

No, I wouldn’t use it, just because it is so old. Our live set is pretty hard. Sometimes things break. It’s a little bit wild. I would hate for that guitar to break, so I transpose it onto the main guitar that I’ve always played on. And it works out. It’s just that the writing wouldn’t occur to me on that other guitar.

Were there things that you talked about with the other band members about the sound that you were going for on this album? Were there differences there?

Yes, a little. Every record is like a weird reaction to your last record, at least for us. So the idea with this one was to make it a little more Folk-instrument-based, a little more acoustic-instrument-based, and not so full of electric guitars that it doesn’t have space to breathe. So that was one of the main themes of this. I would generally write the songs, bring them in, then mess them up, cut them up, use a part here, a part there, and do a bunch of editing.

The other thing is that we record the songs, and we really don’t know what they are until we play them live. The audience reaction dictates what we play. It’s very fluid what we do live. We try not to play exactly like the record. The record and the live show are completely different experiences.

I can see in a few of the songs that they are constructed in a way that leaves room to add or stretch things. It seems like a goal.

Yes. I try to leave things like that. I try not to be in my ego so much where a song “needs to be like this.” It’s a weird, cosmic thing, performing, and every night is different. The audience is what makes it. Songs change. It’s one of my favorite things about the band.

Do you change your setlists during a particular performance based on what’s going on in the audience that night?

We’ll make a setlist, but we can always call audibles, saying, “They are not feeling this. Let’s do this, and this.” We’re always up for mid-set changes. Sometimes, if somebody yells out a song that we haven’t done in years, we try it, but we tell them, “This might suck!” We try to make people feel included, and nothing is too precious.

I think the sound difference between some of the songs on this album, with some more acoustic and some more electric, would work well in a live show, with plenty of variety. I listened to the album in order, and I felt that way.

The track order is important to us. We try to make something that’s a listening order that makes sense and tells a little bit of a story. There are realities about what can fit on the side of a vinyl, so we have to stack the songs in a certain way. It’s a funny balance between making the record make sense, up to a point, and fitting it on vinyl. We tend to push it on the vinyl thing, where it’s right at the max. It gets tricky.

Some of the order was interesting, with a variation of heavy and light, making sure to balance that. I think the song “Mother Mary”, where it’s placed, offsets things a little by being placed sort of centrally.

We’re a band that has Country elements, and we’re all big fans of real Country music, but we’ve never written a song like that before, a real Country song. So that was a fun thing to work with.

It feels like it could be from another decade, another century, even. You bring in the strings on that one, too.

You mentioned earlier how words and instrumentation come together to vibe, and to me, that song’s about a down-on-his-luck guy, who’s a romantic at heart, but whose life is all fucked up. The banjo and viola part that the guys came up with is the perfect thing for that and right on the nose of what we were hoping to come up with.

There’s something weirdly hopeful about that song, like things are breaking down, but yet we will keep dancing.

Right. It’s like that Pogues song, “Fairytale of New York.” He’s a big piece of crap, but he’s hopeful and trying to convince her that things are all going to work out. And she thinks he’s a big piece of shit. It’s the best!

Golden Age Thursday Samples: The Gap Band’s “Yearning For Your Love” (1980) Gets Positioned Alongside Hip-hop Heavyweights like Nas (1994) & The Pharcyde (1995)

Glide Magazine — Thu, 02 Apr 2026 04:00:00 +0000

Part of the art of finding a sample is understanding the nuances of the songs you’re hearing and the thought process of expanding these indistinguishable moments into pure magic. It isn’t always the hook of a classic funk song that grabs the attention of the producer, and it isn’t always the driving melodies of a soul ballad that evoke a spiritual presence to overtake a producer when flipping a sample. Sure, some of the more recognizable melodies come from this process, but some of the most iconic samples can be found within the weeds of its source material.

Such is the case for The Gap Band’s 1980 hit “Yearning For Your Love.” The highlight from the legendary funk band’s fifth studio record, The Gap Band III, contains a small slice of soulful ambiance that would prove to be the foundation for some legendary Hip-hop moments. For this week’s Golden Age Thursday, we look towards the first thirty seconds of “Yearning For Your Love” to find a familiar melody employed by Nas, The Pharcyde, and Heavy D. You can hear the original sample and how it became positioned right next to Hip-hop below.

Original Sample: The Gap Band – “Yearning For Your Love”

Produced by Lonnie Simmons

Nas – “Life’s A Bitch” (Feat. AZ & Olu Dara)

Produced by L.E.S.

The Pharcyde – “Runnin'” (Jay Dee Remix)

Produced by J. Dilla

Heavy D – “Keep It Comin'”

Produced by Heavy D, DJ Battlecat, & Tony Dofat

Amplifiers to Oblivion: Sunn O))) Reclaim Their Drone Throne On Self-Titled Sub Pop Release (ALBUM REVIEW)

Glide Magazine — Thu, 02 Apr 2026 03:56:44 +0000

The long-running, Seattle, Washington-based drone metal act Sunn O)))))) returns with their first new music in seven years, as their tenth album is a self-titled offering and their first for new label Sub Pop.

The duo of Stephen O’Malley and Greg Anderson has been performing for over thirty years, pushing avant-garde metal and noise rock into their ever-droning soundscape. In the past, they have brought in a wide range of collaborators, but for this record, the duo goes it alone. To support this decision, the band has decided to self-title the record, and whenever an established group releases a self-titled album in the middle of their career, it can act as a symbol of rebirth, signal a new direction, go back to roots with a course correction, or simply be one last gasp.

For the record, O’Malley and Anderson worked at Bear Creek Studios, Woodinville, Washington, and the studio in the woods was inspirational to the duo. Behind the album’s Mark Rothko cover art, their crunching feedback was altered with a few field recordings that were captured during calming nature hikes. This is far from hippie music, though, as they crank the amps to the breaking point, pouring out an unrelenting push-and-pull of sonic amplification.

The first single from the album is really the core of this duo, if someone is interested in Sunn O))), “Butch’s Guns” is a great place to start. Static then space repeats a few times as the droning, one-note vibrations arrive, then slowly increase the growl. There is a slight screech around the halfway point, alternating with the constant rumble. Around the ten-minute mark, some chords mix in before shifting back to drones at the end, which cut off abruptly after a powerful fourteen minutes.

Oddly, the record opens with the least interesting track as “XXANN” doesn’t do much, fading into grinding white noise during the almost twenty-minute run time. “Does Anyone Hear Like Venom?” is more nuanced, with interesting dynamics: it trills and stutters with feedback before muscling up and finally cascading.

When the instrumental artistic music is this repetitive, the magic arrives in the small changes, such as the water flowing behind the crackling, tense vibrations of “Mindrolling”. One excellent addition is the shift in “Glory Black” from a few strummed overdriven notes into a simple piano showcase, before ramping up with the heaviest speaker-shaking power to close the album.

Sunn O)))’s sound is clearly not for everyone as the drone, feedback levels and repetition is an acquired taste, but for fans of this goosebump raising style, this self-titled effort is a welcomed return, going back to the duo’s roots in confident fashion.

Futurebirds Announce Their First Double Album ‘Far Out Country’ Out June 5th via Dualtone

Glide Magazine — Thu, 02 Apr 2026 03:48:18 +0000

Futurebirds have announced their first double album, Far Out Country, set for release on June 5 via Dualtone Records. Produced by GRAMMY-winner Brad Cook (Waxahatchee, MJ Lenderman), the record is split into two distinct worlds of Far Out Country I & II —a restless, sunlit “day” and a deeper, more interior “night” that blends psychedelic country-rock, indie, and something that feels less like a genre than a place.

In a rare physical-first approach, the band will release the full project as a double vinyl on June 5, with the second half of the album arriving on streaming platforms months later, making vinyl the only way to experience the complete record early. Today, the group released the Sienna Life EP featuring three songs from Far Out Country I – “Sienna Life,” “Sleepless in the Cage,” and “Ghost Moon.” Here all three tunes below…

Fronted by three distinct singer-songwriters – Daniel “Womz” Womack, Carter King, and Thomas “Tojo” Johnson – the band writes in conversation, their voices shaped by a shared history but diverging perspectives. Across 18 songs, Far Out Country unfolds like an honest dialogue about their transition to fathers and family men navigating the tension between the road that made them and their lives back home.

About the double album, King explains: “We’re really excited to be releasing our first double record in the truest sense. Far Out Country I & II are the two different lenses of the 3D movie glasses. Our three different songwriting perspectives speaking with each other about a shared life, experienced unbelievably close together, and also far apart. It’s a daytime talk, and another one deeper in the night. Far Out Country is a place, not a sound. It’s a place outside ourselves that hopefully helps us see inside the house a little more clearly. New terrain is always best explored with friends. Always use the buddy system, and be safe out there. The full double album will be available on vinyl out of the gates, but digitally, I & II will live and breathe on their own, unfolding one-at-a-time. Come on out and find us.”

Far Out Country I tracklist:
1) Sienna Life
2) Sleepless in the Cage
3) Marco Polo I
4) Nervous Ground
5) Ghost Moon
6) Fly On
7) Gsus Take the Wheel
8) Wishin’
9) Featherbed

Far Out Country II:
10) I’m Yr Mane
11) Sober Somewhere
12) Pretty Eyes
13) Far Out Country
14) Talk About the Band
15) Laugh in Your Sleep
16) Marco Polo II
17) All I Want
18) Long Time Gone

Futurebirds Tour Dates:
04/30 – Myrtle Beach, SC – The Boathouse
05/22 – Savannah, GA – The Park At Eastern Wharf
05/23–05/24 – Isle of Palms, SC – The Windjammer
06/05 – Greensboro, NC – The Pyrle
06/06 – Richmond, VA – The National
06/08 – Washington, DC – 9:30 Club
06/09 – Ardmore, PA – Ardmore Music Hall
06/11 – Boston, MA – Royale
06/12 – Woodstock, NY – Levon Helm Studios
06/13 – New York, NY – Irving Plaza
06/16 – Cleveland, OH – Beachland Ballroom & Tavern
06/18 – Madison, WI – High Noon Saloon
06/19 – Minneapolis, MN – Fine Line
06/20 – Winnetka, IL – Winnetka Music Festival
07/08 – Kansas City, MO – recordBar
07/10 – Denver, CO – Gothic Theatre
07/11 – Beaver Creek, CO – Vilar Performing Arts Center
07/14 – Phoenix, AZ – Crescent Ballroom
07/15 – San Diego, CA – Music Box
07/17 – Los Angeles, CA – Teragram Ballroom
07/18 – San Francisco, CA – August Hall
07/19 – Camino, CA – Delfino Farms
07/22 – Seattle, WA – Tractor Tavern
07/23 – Portland, OR – Mississippi Studios
07/24 – Bend, OR – Volcanic Theatre Courtyard
07/25 – Boise, ID – Shrine Social Club Ballroom
07/28 – Teton Village, WY – Mangy Moose
07/30 – Lander, WY – Lander Presents: Summer Concert Series
07/31–08/01 – Livingston, MT – Pine Creek Lodge
09/02 – Nantucket, MA – The Muse
09/06 – Portland, ME – Ghostland
11/14 – Wilmington, NC – BAD Day Music & Arts Festival