Recorded with producer Stephen Street (The Smiths, The Cranberries), 'Happiness In Magazines' is Graham Coxon's fifth solo album.

His most successful solo venture up to that point, 'Happiness In Magazines' went top 20 in the UK album charts and earned the guitarist the Best Solo Artist prize at the 2005 NME Awards.

Spearheaded by 'Bittersweet Bundle Of Misery's note- perfect pop and the riotous, Skids-like 'Freakin' Out', it plugged him into a lineage of classic power pop, UK punk and '60s songwriting.

"'Bittersweet Bundle Of Misery' and 'Freakin' Out' were two of the first things I wrote," recalls Graham. "I remember thinking, Oh, actually, maybe my songwriting is getting a bit better? Maybe I should take this seriously and not be such a control freak? Stephen just got it. He loved what I was getting at, the sound of it and the era it was influenced by - things like The Cars and The Jam."

TRACK LISTING

1. Spectacular
2. No Good Time
3. Girl Done Gone
4. Bittersweet Bundle of Misery
5. All over Me
6. Freakin' Out
7. People of the Earth
8. Hopeless Friend
9. Are You Ready?
10. Bottom Bunk
11. Don't Be a Stranger
12. Ribbons and Leaves
13. Right To Pop!

Based in New York, YHWH Nailgun have built a reputation on music that is visceral, immediate, and impossible to neatly categorize. What began in 2020 as the raw collision between vocalist Zack Borzone and drummer Sam Pickard has since evolved into a full four-piece alongside guitarist/producer Saguiv Rosenstock and synth player Jack Tobias. Their new album 'Magazine' further sharpens the band’s uncompromising vision.

Across 10 tracks that unfold in just 11 minutes, 'Magazine' pushes YHWH Nailgun’s sound into even more skeletal and immediate territory. Opening with the slow fade-in of ‘Ghost of Love’, the record feels less like a conventional album than a fragment pulled from an endless transmission. The band balances chaos with precision: frantic guitars, bruising percussion, air-raid synths, and Borzone’s now-unmasked vocals, delivered with a newfound clarity that brings his surreal, religiously charged imagery into sharper focus. 'Magazine' was previewed at C2C Festival NYC with the band performing the record in its 11-minute entirety before abruptly exiting the stage. Known for their dynamic and volatile live shows, the performance generated equal parts confusion and excitement.

While their acclaimed 2025 debut '45 Pounds' introduced the band’s feral intensity, 'Magazine' strips away abstraction in favour of something even more direct. Pickard’s drums are leaner, Rosenstock’s production more exposed, and Borzone’s lyrics—filled with visions of blood, serpents, God, and the Devil—take centre stage. Despite the extremity of their sound, the band approaches their music with instinct over self-consciousness, building what they describe as an autonomous creative world unconcerned with trends or reactionary impulses.

Rooted in improvisation and the pursuit of “quick bursts” of inspiration, YHWH Nailgun continues to refine a sound that feels both confrontational and strangely transcendent - music that resists definition while fully committing to its own singular language.

TRACK LISTING

1. Ghost of Love
2. Stillness Blues
3. Innocent Sigh
4. Hips on a Wheel
5. Ballerina
6. Give Blood
7. Magazine
8. Sewer Tree
9. Burns
10. To The Devil

How the iconic publication's unruly first decade rewrote the rules of journalism. Rolling Stone's first decade was truly rock and roll: chaotic, wild, and unpredictable. Brand New Beat charts the origins and evolution of the magazine during its formative early years in San Francisco. Founded in 1967 by a 21-year-old college dropout, Rolling Stone and its editors were steeped in the Bay Area's counterculture and viewed rock and roll as the animating spirit of a social revolution.

Reaching beyond music, the magazine delved into the tempestuous culture and politics of the time. Acclaimed author Peter Richardson takes readers inside the iconic magazine during an era of legendary events, major cultural figures, and unforgettable music. Showing how Rolling Stone became a journalistic juggernaut—nurturing music-focused writers like Cameron Crowe, Lester Bangs, and Greil Marcus as well as New Journalism giants Hunter S.

Thompson and Tom Wolfe—this book reveals how Rolling Stone both exemplified and critiqued the counterculture. Always more than the definitive rock magazine, Rolling Stone leveraged the power of popular music to deliver groundbreaking coverage of historic events, setting a new standard for the next generation of American journalism.

'Magic, Murder and the Weather' is the fourth studio album by Magazine, and their final album until the band’s reformation in 2009. It was originally released in June 1981 by Virgin. The album is brittle and cold with a strong production from Martin Hannett. Pressed from the 2000 remastered recordings, with a photo inner sleeve featuring an interview with John Doyle.

Enduringly credible, Magazine have always been the connoisseur’s choice and frequently name checked by some of the most gifted musicians of recent years including Radiohead, Morrissey, Jarvis Cocker, U2, Johnny Marr and MGMT. NME.com went so far as to included Magazine in a poll as one of the most influential bands of all time. Magazine’s front man, Howard Devoto co-formed Buzzcocks with Pete Shelley after the pair had seen The Sex Pistols in early 1976 and promoted the now legendary Manchester Lesser Free Trade Hall gigs. Devoto left in 1977, after the seminal ‘Spiral Scratch’ EP had been released, and created Magazine. Their first record was the post-punk anthem ‘Shot By Both Sides’. Leading the vanguard of post-punk, Magazine’s sound focused on the double barrels of Dave Formula’s swirling keyboards and John McGeoch’s ahead-of-its-time innovative guitar work, underpinned by Barry Adamson’s pulsing yet deviously irregular bass-lines. Atop of which came Howard Devoto’s lyrics. Aloof, articulate, tersely ironic and about as pliable as a garden rake. Too literary for the mass pop environment. Too poppy for the literary landscapes beyond it. Doomed to exist in that tiny, undersubscribed hinterland where artful wordplay meets the crunching riff.

TRACK LISTING

1. About The Weather
2. So Lucky
3. The Honeymoon Killers
4. Vigilance
5. Come Alive
6. The Great Man's Secrets
7. This Poison
8. Naked Eye
9. Suburban Rhonda
10. The Garden

Now celebrating 10 years, So Young is a creative platform fuelled by the vibrant and underreported creative scenes within alternative music and the visual arts.

This compilation collects twelve vital bands who have shared demos, unreleased tracks and live recordings for you to hear exclusively on 12" vinyl.

TRACK LISTING

Palma Violets - Best Of Friends
Splashh - So Young (Demo)
The Big Moon - Eureka Moment
Childhood - California Light (Demo)
Shame - The Lick (Demo)
Sorry - Rub (Demo)
Sports Team - Blood (Demo)
Goat Girl - The Man (Demo)
Fontaines DC - Hurricane Laughter (Demo)
Wunderhorse - Teal (Live At The Forum) 
English Teacher - Wallace
Been Stellar - Kids 1995 (Demo)

With his third album as Peel Dream Magazine, Joseph Stevens beckons you toward a fabulist, zig-zag world entirely of his own design. On ‘Pad’, he eschews the fuzzy glories of his indie pop past – vibraphone trembles while chamber strings take center stage. The curtains lift to reveal banjo. Chimes. Farfisa. And as he lets out a moan atop the album’s title track, it becomes clear that this is no ordinary performance. A conceptual work about losing oneself when all they have is themself, ‘Pad’ gestures towards an exciting new future for Stevens’ pop moniker by reimagining its own very existence.

The follow-up to 2020’s breakthrough album ‘Agitprop Alterna’, ‘Pad’ presents a major sonic evolution for the 34 year old songwriter, who moved to Los Angeles amid the cataclysm that same year. Seventies era drum machines and synthesizers remain here, but he’s traded his buzzing offset guitar for a nylon-string, opting for a gentle baroque pop sound steeped in Bossa, folk, and its own eerie mysticism. Alongside mid century touchstones like Burt Bacharach, Stevens draws on the cultishly-beloved tinkerings of late-1960s Beach Boys, offering a surreal melange of vintage organs and found percussion, as well as Harry Nilsson’s 1970 song tapestry ‘The Point!’.

And similar to ‘The Point!’, ‘Pad’ is a conceptual work reflecting on isolation and identity. The album tells a bedtime story in which Stevens’ bandmates kick him out of Peel Dream Magazine – banished and now without purpose, he sets out on a journey to rejoin the band. Misadventures ensue, such as when he joins a cult on “Self Actualization Center”, featuring friend and oft collaborator Winter. But this is also music that’s purely pleasurable in its own context, as our protagonist explores the boundaries of easy-listening with discordant textures, and bleeps and bloops that tickle. Songs like “Pictionary” chime delicately with sinister intent, evoking a palette that is outright Mod. ‘Pad’ also recalls the space age bachelor stylings of Stereolab and The High Llamas, with an occult twist that borrows from Tropicalia legends Os Mutantes.

There’s an unmoored frivolity to ‘Pad’, standing in stark contrast to the severe, droning motorik of Steven’s previous albums. Overwhelmed by the political upheaval of the day, he reimagines what Van Dyke Parks once referred to as musical counter-counterculturalism, blurring the line between blithe escapism and pointed subversion. “I felt like there was no other way for me to authentically react to what was happening than to make this record”. The album also draws on library music from the same era to similar effect, conjuring the likes of Basil Kirchin and Pierro Piccioni, as well as Stevens’ newfound arranging skills, honed composing advertisement scores as a day job.

While ‘Pad’ sounds beautiful, there’s a certain darkness to it as well. Stevens is addressing our general ambivalence toward the future of everything we know, informed partly by his time in New York at the onset of the pandemic. On “Hiding Out”, he laments: Wander past the Vernon Mall, and up to Queensboro Bridge. Made to feel I’m two feet small, but that’s no way to live. Ultimately, Stevens is embracing a first-thought-best-thought approach, leaning into the fantastical elements of his own life story. ‘Pad’ is as archetypal as it is strange, blurring the very lines that it asks to be defined by. Art imitates life, but life imitates art too – and the results can sometimes be unpredictable.

TRACK LISTING

Not In The Band
Pad
Pictionary
Wanting And Waiting
Self-Actualisation Centre
Walk Around The Block
Hamlet
Penelope’s Suitors
Hiding Out
Jennifer Hindsight
Reiki
La Sol
Message The Manager
Roll In The Hay
Back In The Band

Vinyl pressing of their 8-track ‘Moral Panics’ EP, featuring 6 brand new tracks. This follows its digital and lathe cut only release in July.

Featuring the original 6 unreleased tracks recorded during the sessions for their recently released second album Agitprop Alterna which was released in April of this year, two further exclusive tracks are added to their vinyl pressing. Talking about the EP, Joe Stevens, the main artistic force behind Peel Dream Magazine said: Moral Panics is an EP featuring unreleased songs from the Agitprop Alterna recording sessions over the course of 2018 and 2019. It's kind of like a sibling to that record as well as the Up and Up EP from 2019. The title comes from Stanley Cohen's Folk Devils and Moral Panics which talks about Mods in England during the 1960s. Cohen talks about how the English press and politicians benefited from vilifying that cultural phenomenon, and I wrote about it in the first track New Culture, as well as Permanent Moral Crisis off the LP. I'm really into everything Mod . . . I think it's something I come back to again and again. These songs definitely create their own vibe but they're still connected to Agitprop Alterna . . ." Peel Dream Magazine is the musical vehicle for NYC's Joe Stevens, who launched the band in 2018 with the critically acclaimed album Modern Meta Physic. The debut was a mysterious, liminal tribute to the hazy end of ‘90s dream-pop – a masterful mix of first-class songwriting precision and train-window sonic impressionism. Stevens played all the parts on Modern Meta Physic himself, blending live and sampled sounds into uniquely identifiable and abstractly psychedelic soundscapes.

The album struck a perfect balance between DIY bedroom pop auteurism and studio wizaJoe Stevens, the rdry, and duly found its place on numerous “Best of 2018” lists. Where the creation of Modern Meta Physic was a solitary pursuit, Agitprop Alterna found Stevens channelling the collaborative spirit of the band’s ever-rotating live incarnation in the studio. He worked with close friend Kelly Winrich to develop new sounds for the project, creating musical snippets that Winrich would mix into the cohering whole. Live band members like vocalist Jo-Anne Hyun (later replaced by Isabella Mingione) and drummer Brian Alvarez would stop by and work their magic on the recordings, laying down parts with trademark exactitude. The resulting music revels in its realness: heavier, more dynamic, and truly the work of a band. 

TRACK LISTING

1. New Culture
2. Verfremdungseffekt
3. Dialectrics
4. Through You
5. Life At The Movies
6. Geodesic Dome
7. The Furthest Nearby Place
8. Clean Water (DEMO)

After 18 months of writing and playing live with a shifting cast of supporting members, Peel Dream Magazine is back with Agitprop Alterna, their new album which pushes the group’s dreamy, motorik-heavy sound to a deeply melodic and beautifully discordant place. Their 2nd LP pays homage to the fuzzy, mod-ish twee of acts like My Bloody Valentine and early Stereolab, but it's also indebted to stateside bands like Yo La Tengo and Rocketship that were cut from a similar cloth. It's part Chickfactor, part Space Age Bachelor Pad; a shambolic, drone-heavy brand of minimalism, filtered through a cross-section of classic indie pop.

Peel Dream Magazine is the musical vehicle for NYC's Joe Stevens, who launched the band in 2018 with the critically acclaimed album Modern Meta Physic. The debut was a mysterious, liminal tribute to the hazy end of ‘90s dream-pop – a masterful mix of first-class songwriting precision and train-window sonic impressionism. Stevens played all the parts on Modern Meta Physic himself, blending live and sampled sounds into uniquely identifiable and abstractly psychedelic soundscapes. The album struck a perfect balance between DIY bedroom pop auteurism and studio wizardry, and duly found its place on numerous “Best of 2018” lists. Where the creation of Modern Meta Physic was a solitary pursuit, Agitprop Alterna found Stevens channelling the collaborative spirit of the band’s ever-rotating live incarnation in the studio. He worked with close friend Kelly Winrich to develop new sounds for the project, creating musical snippets that Winrich would mix into the cohering whole.

Live band members like vocalist Jo-Anne Hyun (later replaced by Isabella Mingione) and drummer Brian Alvarez would stop by and work their magic on the recordings, laying down parts with trademark exactitude. The resulting music revels in its realness: heavier, more dynamic, and truly the work of a band. Each tune’s unique character fits carefully into a broader thematic whole examining personal freedom from manipulation and misinformation. First single “Pill” examines what Stevens calls the "inundation of performances of normalcy and fulfillment that fuel our desire to consume – self-medication for the pain of doubt, want and need.” “Emotional Devotion Creator” frames advertising (and the cynical, manufactured emotional response it elicits) with a critical eye, while “It’s My Body” is an “anthem against people who want to exert power over you and make you feel small…a reminder that you don’t owe anyone anything.

Agitprop Alterna is ultimately defined by the tension of difference: between itself and its predecessor; Stevens’ and Hyun’s intertwined male-female vocals; the music’s languid dreaminess and concrete sonic immediacy. Deeply rooted in the Brechtian ideas of art as a tool to spur action, Agitprop Alterna deepens the connection between the existential and the interpretive first explored on Modern Meta Physic, giving the listener space to find their own meaning in shimmering guitars, fuzzed-out synths, and buzzing organ drones.

TRACK LISTING

1. Pill
2. Emotional Devotion Creator
3. It’s My Body
4. Escalator Ism
5. Brief Inner Mission
6. NYC Illuminati
7. Wood Paneling Pt. 2
8. Too Dumb
9. Burtolt Brecht Society
10. Permanent Moral Crisis
11. Do It
12. Eyeballs
13. Up And Up