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Paddy notes that the true crux of It Goes On’s propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.\u003c\/p\u003e\n\u003cp\u003e“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. 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Between delivering breakout records both as a solo artist — under his This Is Lorelei moniker — and with his band Water From Your Eyes, sold out shows across multiple continents, to seeing some of today’s most influential artists cover his songs, the ascending songwriter has found his stride. As the first This Is Lorelei album for Matador Records, The Singer in My Band takes the building blocks of the Great American Songbook and twists those elemental pieces into new shapes, at once both strangely familiar and endearingly offbeat in Amos’ signature style.\u003c\/p\u003e\n\u003cp\u003eWritten while touring the globe in support of releases from both his bands, The Singer in My Band arrives as the first true ‘road record’ in Amos’ discography. “The ideas incubated while daydreaming in the car without access to any instruments,” he recalls, “so instead of being home and writing on the guitar or a computer, they developed slowly and subconsciously, existing as a sort of intangible thing while looking out the van window.”\u003c\/p\u003e\n\u003cp\u003e“Billy Came Back,” the album’s propulsive lead single, arrives today alongside a video by Alan “Rickman” Official. “‘Billy Came Back’ stewed for months before I picked up a guitar to work it out - I kept forgetting about it but it always came back. Finishing the song was the only way to get it to leave me alone,” says Amos.\u003c\/p\u003e\n\u003cp\u003eThere’s Billy, Joey, Genevieve, Sarah, and the ever-present Buddy, an Altman-esque ensemble cast that populate the album’s stories, scattered through distinctly American scenes and landmarks. As narrators go, they aren’t terribly reliable. They traffic in wild stories and chaotic experiences that are at once oddly specific and just a bit blurry, mirroring Amos’ experience of these last several years. “It’s funny, I sent my dad the album after I finished it, and he said it was kind of an “on the road beatnik” album and that reframed it for me,” says Amos. “It really is like a collection of chaotic experiences that you have while travelling. 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Amos engineered, produced, and performed everything on Singer, save for a blistering banjo lead on the title track courtesy of his father, bluegrass musician Bob Amos, and the occasional vocals from his sister Sarah Amos and partner Al Nardo. “They’re three people who had a fundamental impact on what this album was to begin with, and the ways they could contribute were things that I had in mind as I was writing the songs,” he explains.\u003c\/p\u003e\n\u003cp\u003eThere’s an economy of style to Singer that’s distinct in the Lorelei catalog, harkening back to Amos’ earliest experiences with songwriting and a lifelong reverence for bluegrass music. “It’s the most fundamental form of music to me,” he says, but is quick to note any influence is more as a set of principles than a sound. “There’s a simplicity to bluegrass, where there are very particular rules and a very particular box - songs have to stand up by themselves in terms of melody, lyrics and chord progression.”\u003c\/p\u003e","brand":"MATADOR","offers":[{"title":"Indies Only White Vinyl LP","offer_id":57294858289527,"sku":"RCZ-02843","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":57294858322295,"sku":"RCZ-02844","price":26.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":57294858355063,"sku":"RCZ-02845","price":13.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0625\/3435\/3129\/files\/CAR_20260623_1503_140539_407_p_download_20260623140408_1_001.jpeg?v=1783687766"},{"product_id":"ox","title":"Ox","description":"\u003cp\u003ePalace return with their most open-hearted collection yet,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOx\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp\u003ePalace’s fifth album finds beauty and wisdom in the most human of revelations: watching a child encounter music for the first time, feeling overcome by gratitude, or sensing that the possibilities ahead are endless The album arrives as Palace continue to thrive as an independent act.\u003c\/p\u003e","brand":"Record Corner","offers":[{"title":"LP - Black Cherry","offer_id":57294867890551,"sku":"RCZ-02846","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Black","offer_id":57294867923319,"sku":"RCZ-02847","price":28.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0625\/3435\/3129\/files\/palace-ox.png?v=1783688091"},{"product_id":"antony-szmierek-decoding-birdsong","title":"Antony Szmierek - Decoding Birdsong","description":"\u003cp\u003eManchester-born poet, writer, and producer Antony Szmierek has announced the release of his second album, Decoding Birdsong. Just eighteen months after his critically acclaimed debut, Szmierek returns with a new body of work that signals a clear evolution in both sound and scope. Rooted in his personal touchstones within electronic music, the album pairs expansive, immersive production with his trademark razor-sharp lyricism.\u003c\/p\u003e\n\u003cp\u003eWhere his debut had been a solo endeavour, Decoding Birdsong brims with collaboration, including Australia’s Pretty Girl, London band Los Bitchos, and Bristol producer 1-800 GIRLS, as well as Imogen and the Knife and indie pop star Ellur. Speaking about the new record, Antony explains “Decoding Birdsong is about choosing to believe in something. Coincidence as a religion. Making your own luck in the face of loneliness and doubt. The smallest things can feel seminal, seismic and life affirming if you just choose to lean in, but it also asks if this is a dangerous way to live. What happens when your numbers come in? What are the consequences of luck? Should you listen to the birds, or are you only ever going to hear what you want to hear? To help us explore this: a heron, dice, a plummeting airplane, the late-night TV show Aussie Gold Hunters and a fibreglass replica of Godzilla.”\u003c\/p\u003e\n\u003cp\u003eDecoding Birdsong follows the wild success of his debut album, 2025’s Service Station at the End of the Universe, which launched Antony into a whirlwind of Glastonbury, Jools Holland, and repeat BBC airplay. He’s sold out venues across the UK and Europe, and in February 2026 performed to 20,000 while closing Solomun’s Alexandra Palace shows. The former English teacher had been working at a college for special needs students when his blend of spoken word and dance music started taking off, earning him accolades such as 6Music’s Artist of the Year in 2023 following his Poems To Dance To EP, and frequent comparisons to Mike Skinner, Jarvis Cocker and John Cooper Clarke.\u003c\/p\u003e","brand":"Mushroom Music Group","offers":[{"title":"CD","offer_id":57296100819319,"sku":"RCZ-02853","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"Black Vinyl LP","offer_id":57296100852087,"sku":"RCZ-02854","price":26.99,"currency_code":"GBP","in_stock":false},{"title":"LP - Limited Edition Beak Yellow","offer_id":57296100884855,"sku":"RCZ-02855","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0625\/3435\/3129\/files\/INT_20260430_1039_104220_760_p_Antony_Szmierek_-_Decoding_Birdsong_-_Sales_Note_-_RETAIL_1_001.jpg?v=1783760521"},{"product_id":"alabama-shakes-i-must-be-dreaming","title":"Alabama Shakes - I Must Be Dreaming","description":"\u003cp\u003eI Must Be Dreaming is the first new album from Alabama Shakes in more than a decade. The album expands on 2015’s album Sound \u0026amp; Color’s unfettered exploration, leaning toward a viscerally charged form of psychedelic soul.\u003c\/p\u003e\n\u003cp\u003eProduced by Alabama Shakes and their repeat collaborator Shawn Everett, the album came to life at Nashville’s Sound Emporium Studios and Blackbird Studio. While the album sustains their signature intensity, its songs often wander into more lush and otherworldly terrain, revealing a more exacting command of atmosphere and space.\u003c\/p\u003e\n\u003cp\u003eAlabama Shakes have always moved according to their own dream logic, frequently following their deepest instincts to magnificently strange ends. After forming in 2009, the Athens, AL-bred band exploded onto the scene as a seismic new force in rock \u0026amp; roll, swiftly cementing that legacy with just two albums: 2012’s Boys \u0026amp; Girls (a massively acclaimed LP whose lead single “Hold On” topped Rolling Stone’s list of the year’s best songs) and 2015’s Sound \u0026amp; Color (a Billboard 200 No. 1 debut that notched four Grammy wins, including Best Alternative Music Album). Arriving more than a decade after its predecessor, their new album I Must Be Dreaming expands on Sound \u0026amp; Color’s unfettered exploration, leaning toward a viscerally charged form of psychedelic soul—a perfect backdrop to their prismatic meditations on time and mortality, love in its many forms, and the increasingly surreal dissonance of modern life.\u003c\/p\u003e\n\u003cp\u003eThe third studio album from vocalist\/guitarist Brittany Howard, guitarist Heath Fogg, and bassist Zac Cockrell, I Must Be Dreaming began taking shape in late 2024, when Alabama Shakes met up with no real intentions beyond playing music together again. As they built off a batch of demos Cockrell had recorded in his home studio, the band gradually made their way toward an entire album’s worth of material. “It was different from how we worked in the past, when we’d show up with the songs almost finished and just go in and record,” says Howard. “With this album everything was coming together in real time—we were never sure what would happen next, and that felt exciting.” Wholly embracing that unpredictability, Alabama Shakes tapped into the rarefied chemistry at the heart of the band—an element further reignited on their ardently received 2025 North American headline run. “When it came time to relearn our older songs for the tour, I realized there was a magic to them that I’d never fully appreciated,” Cockrell points out. And by reconnecting with that magic in the writing process, the band ultimately found an undeniable path forward. “I’m proud of us for coming from a very honest place on this record instead of trying to go back and create from the perspective of people in their 20s,” says Howard. “The album reflects what’s going on in our lives right now, and there’s real truth in all these songs.”\u003c\/p\u003e\n\u003cp\u003eProduced by Alabama Shakes and their repeat collaborator Shawn Everett (a six-time Grammy winner who’s also worked with The War on Drugs, Alvvays, Miley Cyrus, The Killers, and more), I Must Be Dreaming came to life at Nashville’s Sound Emporium Studios and Blackbird Studio, where the band took full advantage of the extensive stash of unusual instruments (e.g., harpsichord, sitar, flute). While the album sustains their signature intensity, its songs often wander into more lush and otherworldly terrain, revealing a more exacting command of atmosphere and space. “Some of my favorite songs from our older records are the softer, sweeter, more ethereal songs, so I enjoyed moving into that direction even more on this album,” says Fogg. “We’d also talked early on about the record being about someone walking up from a dream state, and it feels right to take the psychedelic route to tell that kind of story.” To that end, the title to I Must Be Dreaming nods to the mystifying duality of the present moment. “There’s a double meaning to it,” notes Howard. “It could be saying, ‘I must be dreaming, because the world is so fucking crazy right now.’ But it could also mean, ‘I must be dreaming, because the world is so incredibly beautiful.’ Both those things can be true at once.”\u003c\/p\u003e\n\u003cp\u003eOne of the first songs created for I Must Be Dreaming, “Time” arrives as a gloriously sprawling contemplation of the fleeting nature of life. In an exhilarating first for Alabama Shakes, the spellbinding slow-burner surges toward an improvised free-for-all in its final two minutes, summoning an ecstatic frenzy with its stormy rhythms and chaotic guitar work. Looking back on that burst of unguarded spontaneity, Fogg compares the song’s formation to the band’s long-held ritual of creating group drawings. “Someone will start a drawing and then pass it and the next person will add to it, and it always turns into something unique,” he says. “That’s how that jam felt to me—really pure and fun, all of us exploring together.”\u003c\/p\u003e\n\u003cp\u003eEndlessly straddling the line between reverie and reckoning, I Must Be Dreaming also channels a wild-eyed euphoria on tracks like “Another Life,” a feverishly searching piece that morphs from R\u0026amp;B to psych-rock as Howard raises the possibility that love might outlast a single lifetime. “I think there’s comfort in the idea that you might end up meeting someone’s soul again, even if they pass on or walk out of your life,” she says. On “Easy,” Alabama Shakes offer up a blissed-out love song that speaks to the quiet rapture of feeling truly safe with a partner. “It’s about being with someone who actually makes your life easier, after doing it the hard way for most of your life,” says Howard. “I wrote it for my fiancée but we can’t listen to it together; we’ll cry.” Meanwhile, “Garden” slips into a sweet delirium in its reflection on the constant care required for love to bloom. To sculpt the song’s enchanting sound, Cockrell stepped behind the drum kit while drummer\/vibraphonist Lewis Wright (Michael Kiwanuka, Wynton Marsalis) dreamed up its majestic piano interlude. “At first that song wasn’t clicking,” Fogg recalls. “But then Lewis killed it on piano and Zac killed it on drums, and you could just feel the energy change in a very inspiring way.”\u003c\/p\u003e\n\u003cp\u003eAnother song born from in-studio experimentation, the album-opening “Tea Time” emerged after Alabama Shakes’ longtime keyboardist Paul Horton laid down a hypnotic flute melody, and soon evolved into an elaborate manifesto: a heart-centered vision of power that trades defense and destruction for protection and peace. “The flutes sparked this medieval imagery in my mind, and I started thinking about how the world we live in now feels like feudalism,” says Howard. “Some people have so much; so many others are just scraping by. Our leaders are supposed to take care of us and take care of the land, but they’re mostly just chasing wealth.” Later, I Must Be Dreaming drifts into the luminous textures and childlike harmonies of “I Feel Hope Coming (It’s Good To Be Clean),” a tender yet galvanizing call to resist systems that dehumanize and move toward a future defined by collective care. “This younger generation makes me feel hopeful because they can see through all the political lies—that song’s about holding onto that hope, and refusing to give up,” says Howard. “I’m really happy that song exists,” Fogg adds. “It came from such a joyful moment of collaboration, and exemplifies everything I love about this band being reborn.”\u003c\/p\u003e\n\u003cp\u003eIn a thrilling late-album turn, I Must Be Dreaming builds to the raw and rumbling urgency of penultimate track “American Dream”—a prime showcase for Howard’s powerhouse vocal work. One of the LP’s most sublimely heavy moments, “American Dream” traces the steady unraveling of once-shared ideals, simultaneously telegraphing disillusionment and defiant hope. “It’s a snapshot of what we’re living through in 2026,” says Howard. “I look around and wonder how we got to a place where there’s so much strain and so little support. I mean, it shouldn’t be impossible to take off work so you can bring your child to the doctor—that’s actually insane. My hope is that one day people will hear this album and say, ‘Yeah, shit was crazy back then, but we made it through.’”\u003c\/p\u003e\n\u003cp\u003eIn keeping with Alabama Shakes’ extraordinary knack for collapsing genre boundaries, I Must Be Dreaming merges funk-rooted grooves, frenetic punk rhythms, and hip-hop-leaning vocal cadence on “How Love’s Supposed To Go,” a desperate plea for open-heartedness. “It’s coming from the viewpoint of loving someone who’s convinced that everyone’s going to do them wrong,” says Howard. “You’re trying to prove you’re different and telling them, ‘I’m not like that. 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