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These songs take as much inspiration from titanic ‘90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican’s songwriters, so too did Quicksand, Christie Front Drive, and Hum. \u003cbr\u003e\u003cbr\u003e“A lot of people didn’t hear it,” says Schroeder-Lebec. “I was like, well, I guess the metal world is where we fit. But now, I’m willing to acknowledge all the suits we’re wearing.” On Flickering Resonance, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003cbr\u003e\u003c\/strong\u003e1. Gulch \u003cbr\u003e2. Evergreen \u003cbr\u003e3. Indelible\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003cbr\u003e\u003c\/strong\u003e1. 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Cowritten and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), a short history of decay, is the most evolved musical statement in Nothing’s catalog. \u003cbr\u003e\u003cbr\u003eSongs like “Cannibal World” and “Toothless Coal” are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine -- except more extreme. On the other end of the spectrum, the ornately morose “Purple Strings” boasts a beautiful string arrangement that includes harpist -- and two-time Nothing contributor -- Mary Lattimore. That baroque delicacy permeates other a short history of decay, highlights, particularly “The Rain Don’t Care,” a lilting ballad that channels the worn-down elegance of Mojave 3, and also “Nerve Scales,” a pattering bop that resembles Radiohead in its marriage of otherworldly atmosphere and mortal precision. 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Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican’s foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. \u003cbr\u003e\u003cbr\u003eWith Schroeder-Lebec returning to the band following Dallas Thomas’ departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with their 2025 LP, Flickering Resonance.\u003cbr\u003e\u003cbr\u003eWith multiple legs of touring in the US and Europe supporting the record, Flickering Resonance has reinvigorated and injected new life into the band. The album is already on it’s 3rd vinyl pressing. 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Since 2021, the Knumears (bassist Dante Garcia II, drummer Frankie Lopez, and vocalist\/guitarist Matthew Cole) have been writing, touring and playing nonstop, moving from playing packed local shows with kids screaming, climbing, shouting and dancing to touring nationally and finding the same fervent reactions all across the country. \u003cbr\u003e\u003cbr\u003eBut outside of the chaos of touring, the group found equal growth in their personal lives, strengthening old bonds with those back home, discovering new connections, and cultivating their own worlds. “All of us were kind of finding ourselves on our own and finding new relationships of all kinds,” Cole says, reflecting on the record’s development. “A lot of change was happening for each of us.” At first all of this personal upheaval was not completely conducive to writing a new album.\u003c\/p\u003e\n\u003cp\u003eThe band was scheduled to record with legendary producer\/engineer Jack Shirley (Deafheaven, Loma Prieta, Touche Amore) but the band’s process felt somewhat stagnant until suddenly it wasn’t: “We were all struggling very much creativity wise,” explains Cole “We’d all found outlets in other projects while trying to write this record. \u003cbr\u003e\u003cbr\u003eBut a few weeks before our time with Jack, we sat down and basically wrote the whole record. 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It marks the British band’s first album in eight years, a reunion with their original label Run For Cover Records, and a return to making music with the unbridled passion and creative intuition that’s always animated their best material. \u003cbr\u003e\u003cbr\u003eSince forming in 2009, Basement have always been the same five friends -- vocalist Andrew Fisher, guitarists Alex Henery and Ronan Crix, bassist Duncan Stewart, and drummer James Fisher -- with the same alchemic bond. \u003cbr\u003e\u003cbr\u003eThe only thing that’s changed in recent years is their renewed sense of purpose, and their new album makes that loudly apparent. Wired is the most dynamic, daring, and inspired Basement have ever sounded, while also retaining the timeless fundamentals of the band’s singular sound: growling guitars, rousing choruses, striking emotional verbiage.\u003c\/p\u003e\n\u003cp\u003eBasement are back firing on all cylinders, but they’re not interested in rehashing old glories. The whole band was adamant that Wired had to be their most decisive artistic statement yet. Title-track “WIRED” is the most urgent they’ve ever sounded, a surefire live staple propelled by needling guitars, a slugging drumbeat, and a skyscraping hook that finds Fisher’s voice in peak form. \u003cbr\u003e\u003cbr\u003e“Broken By Design” has the opposite temperament: dusky, delicate, bass-led, but still quintessentially Basement in its immediate catchiness and moody character. Nothing on Wired sounds stagnant. Not one part feels undercooked. The band looked to a smorgasbord of adventurous heroes for inspiration (REM, Interpol, Smashing Pumpkins, to name a few) without ever sounding like they’re imitating any one band -- not even themselves.\u003cbr\u003e\u003cbr\u003eThe record’s title condenses all of this into a single word. 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Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration.\u003c\/p\u003e\n\u003cp\u003eSpringtime and Blind stemmed from Pat’s loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. Like the pain both he and his mother experienced, “a wild grief so well hidden,” the songs on this album hide the pain of loss beneath a layer of punchy, energetic instrumentals.\u003c\/p\u003e\n\u003cp\u003e“USMA,” one of the singles released off of the record, exemplifies this with its upbeat drumming and melodic guitar riff. As the title explains, the song is about the United States Military Academy where Flynn’s father was buried. It is a refreshingly energetic song from the album, that explores love not only for a person, but for a beautiful place and how that place grows up with you.\u003c\/p\u003e\n\u003cp\u003eThe first single to be released from Springtime and Blind, “Lay Low,” opens with a slow guitar riff that seemingly explodes with the first beat of the drum. “Lay Low” pushes Flynn’s vocals to their breaking point as he cries out. Flynn has self-described the song as the concept that “life continues on,” even when it seems to be too difficult to handle. It’s an overwhelming sense of change that brings with it the feeling of dread, a feeling that as the song says is “too much for me.”\u003c\/p\u003e\n\u003cp\u003eAt the center of the album is “Poem You,” a boldly personal song. Embedded between the vulnerable “I’ll see you again” of the chorus is a rather-loaded sound clip of Flynn’s father speaking on voicemail; “I’ll get back to you as soon as I can” the electronic voice seems to reply. The final track of the album, “Widow in the Sunlight” finishes the album on a lighter note. The line “sunlight, moonlight, this life, next life” evolves into a mantra throughout the song - a cyclical look at things constantly fluctuating but perhaps eventually improving. There’s a taste of hope for what the next life brings, a feeling of reunion.\u003c\/p\u003e\n\u003cp\u003eWhile the process of writing and recording helped Flynn cope with his personal loss there’s no doubt it carries a universal message that can help ease others’ loneliness. 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Recorded in vocalist Mat Kerekes’ home studio in his garage, Citizen’s need to continue moving forward creatively went hand in hand with their desire to be fully in control of their creative destiny. \u003cbr\u003e\u003cbr\u003eThe new process afforded the band time to focus on each song’s individual mood, making their signature blend of aggression and melody all the more pronounced, and even capturing appealing imperfections. The result is an album that represents the members’ vision in its purest form, something that feels distinctly Citizen while also marking the start of a fresh chapter.\u003cbr\u003e\u003cbr\u003eOne of the most immediately striking elements of the direction on Life In Your Glass World is the band’s attention to rhythm. 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I didn’t have this idea that I was going to go and become a musician, but I was learning new chord progressions and writing, and I’d moved to Philly and was surrounded by other songwriters.” \u003cbr\u003e\u003cbr\u003eOne of these fellow musicians was guitarist Jon Cox, who joined up with DeGroot to form an early incarnation of Sadurn. The two started playing DIY shows in the city and released several homemade, charmingly lo-fi EPs, then in early 2020, a chance experience kicked off the next phase of Sadurn. “My friend Amelia [Swain] was just learning to play drums, we started playing some of my songs together and it just made sense, we both had this feeling that we had to do this.” The group was soon joined by Tabitha Ahnert who had recently taken up bass, and Sadurn’s new lineup was complete.\u003c\/p\u003e\n\u003cp\u003eWith new members and an evolving sound, the beginning of 2020 was meant to be the four-piece’s debut, but the world had other plans. “I’d already been scheming about making a record before the pandemic because I was excited about the full-band songs,” says DeGroot. “We played one gig together and then everything got put on hold for a while.” After months of isolation and waiting, Sadurn figured out a way to push forward. “The only way we thought it could work was if we isolated together for a couple weeks, so we found a cheap Airbnb in the Poconos and our friend Heather Jones brought out all this recording gear.” The band moved the furniture and created a makeshift recording studio, tucking themselves away in close quarters, with only passing animals around to witness the making of what would become their first full-length. \u003cbr\u003e\u003cbr\u003e“We didn’t even know if we were going to do enough songs for an album at first, it was kind of a mystery of what was going to work,” DeGroot explains. “The whole project up to that point had been so lo-fi, so close to the source and unproduced. 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Radiator explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. “I definitely write as a way of processing what’s going on,” says DeGroot. “I’m usually making space for a feeling or a thought that, for some reason, I can’t talk to other people about because it’s too destructive.”\u003c\/p\u003e\n\u003cp\u003eIndecision, doubt, heartbreak, the idea of being forced to choose–these internal conflicts are wrestled with throughout Radiator. Tracks like “snake,” the album’s instantly powerful opener, and “golden arm,” an unhurried ballad that shows its truest colors with time, are full of memorable moments and emotional detail. Elsewhere “moses kill” tries to make sense of unresolved feelings around identity and family overtop acoustic guitars recorded so closely that you can hear fingers moving from fret to fret, while mid-album highlight “special power” is an unabashed breakup song with a soaring chorus that belies its aching lyrics. “If you’re having doubts about a relationship, there aren’t many places you can air them,” DeGroot says. “Writing about that kind of thing is a way to wrap your mind around them.”\u003c\/p\u003e\n\u003cp\u003eRadiator culminates in the penultimate song, “icepick”–a mix of gentle guitars, a hazy drum loop, and DeGroot’s revealing lyrics that slowly tumbles into album closer “\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. snake \u003cbr\u003e2. moses kill \u003cbr\u003e3. golden arm \u003cbr\u003e4. lunch \u003cbr\u003e5. special power \u003cbr\u003e6. the void \/ Madison \u003cbr\u003e7. white shirt \u003cbr\u003e8. radiator \u003cbr\u003e9. icepick \u003cbr\u003e10.\u003c\/p\u003e","brand":"Run For Cover","offers":[{"title":"Vinyl LP - Olive Green","offer_id":57274174472569,"sku":"RFC236LP-C4","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/sadurn.jpg?v=1782731565"},{"product_id":"field-medic-floral-prince","title":"Field Medic 'Floral Prince'","description":"\u003cp\u003eFor some time now, followers of Field Medic have been piecing together clues about Floral Prince. The name has been mentioned in late night Twitter hints, secret YouTube leaks, teaser riddles, Instagram live sets, and standalone single drops. This unconventional approach paints a bigger picture for the 11-track project as a whole, set for release October 2nd from Run For Cover Records.\u003c\/p\u003e\n\u003cp\u003ePart mixtape, part album, part collection, part musical patchwork quilt, Floral Prince is the latest offering from Field Medic, aka the preeminent Bay Area freak folk artist Kevin Patrick Sullivan. It’s a reflection of his unique approach to songwriting and a creative drive that can’t be contained to the traditional album format. Field Medic’s songwriting rarely slows down; even after the release of his 2019 full-length fade into the dawn and the busy touring schedule that followed, Sullivan still found himself flush with new songs and ideas. As he attempted to earmark certain songs for his next release Sullivan began to chafe at the pressures of a follow-up album.\u003c\/p\u003e\n\u003cp\u003eLonging for the spontaneity of Field Medic’s earlier work, Sullivan found inspiration in what he calls the “full-time freestyle” mindset where he writes and records songs on the fly with a four-track, usually with a self-imposed limit of three takes. “This style lends itself to more off-the-cuff lyrics and recordings that communicate their point much clearer to my ears,” he explains. “It’s also fun.” The process proved surprisingly satisfying, often capturing the diary-like nature of Sullivan’s songwriting more accurately than some of the music he’d been poring over. “The songs born from this method aren’t always ‘hits,’ he says. “But they feel much more important to me…closer to how I really feel.” Some of these charming homespun missives made their way onto the internet, spurring fans to follow the breadcrumbs towards these first glimpses into Floral Prince and the ever-expanding Field Medic mythology. “I realized the songs I was saving for another album were much less focused and effective than some of the freestyles I had been creating and subsequently leaking,” Sullivan says. “I think that’s because I really enjoyed the process of writing and recording the freestyles, whereas the ‘hits’ I was attempting to make were being approached as more of a chore.”\u003c\/p\u003e\n\u003cp\u003eFloral Prince officially began to see the light of day through a series of stand-alone singles released throughout early 2020 in tandem with episodes of Sullivan’s homemade webseries, the field medic show. To invite fans further into Field Medic’s unique world of achingly beautiful melodies and conversational lyricism, songs like the atmospheric ballad “better way” and the Alex Menne (pickleboy\/Great Grandpa) collaboration “talkin johnny \u0026amp; june (your arms around me)” were shared alongside the YouTube show’s accompanying live versions. Other tracks—like rousing opener “-h-o-u-s-e-k-e-y-z-” and the longing “i want you so bad it hurts”—were repurposed from the fade into the dawn sessions to finally find a home on Floral Prince. Elsewhere “it’s so lonely being sober” exemplifies the unvarnished appeal of the full-time freestyle attitude. 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