#partisanrecords — Public Fediverse posts

Brooklyn's Lip Critic share 'Shoplifting' from new album 'Theft World' (May 1, Partisan Records). Two drummers, a sampler, and Bret Kaser losing the thread on purpose. Full Spotlight review coming soon.
#LipCritic #BestNewMusic2026 #W18 #PartisanRecords
https://go.stereobar.net/21buoql

Brooklyn's Lip Critic share 'Shoplifting' from new album 'Theft World' (May 1, Partisan Records). Two drummers, a sampler, and Bret Kaser losing the thread on purpose. Full Spotlight review coming soon.
#LipCritic #BestNewMusic2026 #W18 #PartisanRecords
https://go.stereobar.net/21buoql

Beth Orton announces The Ground Above, her first album since Weather Alive (2022). Self-produced with Nick Hakim, Tom Skinner and more. Out June 26 via Partisan. https://go.stereobar.net/u3g2w1t #BethOrton #BestNewMusic2026 #W17 #PartisanRecords

Beth Orton announces The Ground Above, her first album since Weather Alive (2022). Self-produced with Nick Hakim, Tom Skinner and more. Out June 26 via Partisan. https://go.stereobar.net/u3g2w1t #BethOrton #BestNewMusic2026 #W17 #PartisanRecords

Lip Critic drop "Jackpot", the second single from Theft World (out May 1, Partisan Records). Frantic electronic hardcore about gambling addiction — pounding drums, discordant synths, Bret Kaser on the edge. https://go.stereobar.net/chdy1mp
#LipCritic #BestNewMusic2026 #W11 #PartisanRecords

Lip Critic drop "Jackpot", the second single from Theft World (out May 1, Partisan Records). Frantic electronic hardcore about gambling addiction — pounding drums, discordant synths, Bret Kaser on the edge. https://go.stereobar.net/chdy1mp
#LipCritic #BestNewMusic2026 #W11 #PartisanRecords

Lip Critic announce second album Theft World (May 1st, Partisan). Lead single "Legs In A Snare" is out now. Born from frontman Bret Kaser's identity being stolen by a fan. North American tour starts May 25th. #LipCritic #BestNewMusic2026 #W07 #PartisanRecords https://go.stereobar.net/wuvd4rr

Lip Critic announce second album Theft World (May 1st, Partisan). Lead single "Legs In A Snare" is out now. Born from frontman Bret Kaser's identity being stolen by a fan. North American tour starts May 25th. #LipCritic #BestNewMusic2026 #W07 #PartisanRecords https://go.stereobar.net/wuvd4rr

Witch Post's "Worry Angel" groans like a rusty switchblade. From EP Butterfly, out March 20 via Partisan. Alaska Reid and Dylan Fraser blend lo-fi indie with grunge on a track about superstition and fear. https://go.stereobar.net/pehphcd #WitchPost #BestNewMusic2026 #W06 #PartisanRecords

Witch Post's "Worry Angel" groans like a rusty switchblade. From EP Butterfly, out March 20 via Partisan. Alaska Reid and Dylan Fraser blend lo-fi indie with grunge on a track about superstition and fear. https://go.stereobar.net/pehphcd #WitchPost #BestNewMusic2026 #W06 #PartisanRecords

IDLES share Interpol remix of "Rabbit Run" from their Caught Stealing soundtrack. Physical release December 19 via Partisan Records. Interpol's Sam Fogarino calls it "a white knuckle rollercoaster ride". #Idles #BestNewMusic2025 #Week49 #PartisanRecords
https://go.stereobar.net/fkes372

IDLES share Interpol remix of "Rabbit Run" from their Caught Stealing soundtrack. Physical release December 19 via Partisan Records. Interpol's Sam Fogarino calls it "a white knuckle rollercoaster ride". #Idles #BestNewMusic2025 #Week49 #PartisanRecords
https://go.stereobar.net/fkes372

Geese – Getting Killed [Things You Might Have Missed 2025]

By Dear Hollow

When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

Geese – Getting Killed [Things You Might Have Missed 2025]

By Dear Hollow

When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

Geese – Getting Killed [Things You Might Have Missed 2025]

By Dear Hollow

When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

Geese – Getting Killed [Things You Might Have Missed 2025]

By Dear Hollow

When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

Geese – Getting Killed [Things You Might Have Missed 2025]

By Dear Hollow

When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

Witch Post share "Twin Fawn", second single since signing to Partisan Records. Alaska Reid and Dylan Fraser reflect on West Coast memories ahead of UK and European tour dates.
#WitchPost #BestNewMusic2025 #Week45 #PartisanRecords
https://go.stereobar.net/efwsybg

Witch Post share "Twin Fawn", second single since signing to Partisan Records. Alaska Reid and Dylan Fraser reflect on West Coast memories ahead of UK and European tour dates.
#WitchPost #BestNewMusic2025 #Week45 #PartisanRecords
https://go.stereobar.net/efwsybg

IDLES contribute "Cheerleader" to Darren Aronofsky's "Caught Stealing" soundtrack. The Bristol punk band wrote four original tracks for the crime thriller starring Austin Butler. Joe Talbot calls the collaboration "a lucid dream." #IDLES #BestNewMusic2025 #Week35 #PartisanRecords
https://go.stereobar.net/8bjj24b

IDLES contribute "Cheerleader" to Darren Aronofsky's "Caught Stealing" soundtrack. The Bristol punk band wrote four original tracks for the crime thriller starring Austin Butler. Joe Talbot calls the collaboration "a lucid dream." #IDLES #BestNewMusic2025 #Week35 #PartisanRecords
https://go.stereobar.net/8bjj24b

TTSSFU's "Forever" breaks from her usual dark dream-pop with genuine warmth. Tasmin Stephens calls it her happiest song yet—an ode to friendship with stadium drums and whispered vocals. Co-produced by Chris Ryan from her "Blown" EP. #TTSSFU #BestNewMusic2025 #Week35 #PartisanRecords
https://go.stereobar.net/9cb2de5

TTSSFU's "Forever" breaks from her usual dark dream-pop with genuine warmth. Tasmin Stephens calls it her happiest song yet—an ode to friendship with stadium drums and whispered vocals. Co-produced by Chris Ryan from her "Blown" EP. #TTSSFU #BestNewMusic2025 #Week35 #PartisanRecords
https://go.stereobar.net/9cb2de5

Geese share "100 Horses", third single from September album "Getting Killed". Apocalyptic dance music with dark humor about global collapse. Major North American tour starts October.
#Geese #BestNewMusic2025 #Week35 #PartisanRecords
https://go.stereobar.net/81nsj3x

Geese share "100 Horses", third single from September album "Getting Killed". Apocalyptic dance music with dark humor about global collapse. Major North American tour starts October.
#Geese #BestNewMusic2025 #Week35 #PartisanRecords
https://go.stereobar.net/81nsj3x

Just Mustard chase euphoria over grief on 'WE WERE JUST HERE'. Katie Ball's vocals soar higher while their industrial textures warm up. Club-inspired catharsis from Dundalk. 🎵✨

#JustMustard #BestNewMusic2025 #Week33 #PartisanRecords

https://go.stereobar.net/8g136sy

Just Mustard chase euphoria over grief on 'WE WERE JUST HERE'. Katie Ball's vocals soar higher while their industrial textures warm up. Club-inspired catharsis from Dundalk. 🎵✨

#JustMustard #BestNewMusic2025 #Week33 #PartisanRecords

https://go.stereobar.net/8g136sy

Geese turns tax anxiety into transcendent art on 'Taxes'—what starts as existential dread explodes into radiant guitar melodies. Kenny Beats produces their most ambitious work yet. Album 'Getting Killed' drops 9/26 🎸✨

#Geese #BestNewMusic2025 #Week28 #PartisanRecords

https://go.stereobar.net/vkwwza7

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #kombi #noise #há1ano

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #kombi #noise #há1ano

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #kombi #noise #há1ano

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #kombi #noise #há1ano

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #kombi #noise #há1ano

💃 Ezra Collective kicks off 2025 with Body Language—a jazz-meets-cumbia groove featuring Sasha Keable. A tribute to Latin American culture, this one’s made for the dance floor. Move with it. #EzraCollective #SashaKeable #PartisanRecords #BestNewMusic2025 #Week08

https://go.stereobar.net/7t58cc

#ListeningTo
"Second Time Round"
by #Cymande
https://cymande.bandcamp.com/album/second-time-round
(Originally released in #1973)
Reissued December 8, #2023
via #PartisanRecords
#ThanksPeoples!

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/p/C7J4OdZgEQV/?igsh=bnpucXdiMzFzbDF3

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/p/C7J4OdZgEQV/?igsh=bnpucXdiMzFzbDF3

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/p/C7J4OdZgEQV/?igsh=bnpucXdiMzFzbDF3

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/p/C7J4OdZgEQV/?igsh=bnpucXdiMzFzbDF3

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/p/C7J4OdZgEQV/?igsh=bnpucXdiMzFzbDF3

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/reel/C7J3K33AOrC/?igsh=MWxpNGltOXFpNWlyYg==

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/reel/C7J3K33AOrC/?igsh=MWxpNGltOXFpNWlyYg==

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/reel/C7J3K33AOrC/?igsh=MWxpNGltOXFpNWlyYg==

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/reel/C7J3K33AOrC/?igsh=MWxpNGltOXFpNWlyYg==

Idles - Joy As An Act Of Resistance #vinil #PartisanRecords #KnittingFactoryRecords #idPTKF25181 #PostPunk #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise
https://www.instagram.com/reel/C7J3K33AOrC/?igsh=MWxpNGltOXFpNWlyYg==

#ListeningTo
"Promised Heights"
by #Cymande
https://cymande.bandcamp.com/album/promised-heights
via #PartisanRecords
Originally released #1974
50th anniversary reissue releases on May 17, #2024!
#ThanksFolks!

#ListeningTo
"Cymande"
by #Cymande
https://cymande.bandcamp.com/album/cymande?label=3234253933&tab=music
Originally released #1972 by #JanusRecords
December 16, #2022 release via #PartisanRecords + #Bandcamp
Information about the release: https://en.wikipedia.org/wiki/Cymande_(album)
#ThankYouSirs!

#ListeningTo
"I Inside the Old Year Dying"
by #PJHarvey
https://pjharvey.bandcamp.com/album/i-inside-the-old-year-dying
Released July 7, #2023
via #PartisanRecords +#Bandcamp
Information about the release: https://en.wikipedia.org/wiki/I_Inside_the_Old_Year_Dying
#ThankYouMaam!

#ListeningTo
"I Inside the Old Year Dying"
by #PJHarvey
https://pjharvey.bandcamp.com/album/i-inside-the-old-year-dying
Released July 7, #2023
via #PartisanRecords +#Bandcamp
Information about the release: https://en.wikipedia.org/wiki/I_Inside_the_Old_Year_Dying
#ThankYouMaam!

#ListeningTo
"I Inside the Old Year Dying"
by #PJHarvey
https://pjharvey.bandcamp.com/album/i-inside-the-old-year-dying
Released July 7, #2023
via #PartisanRecords +#Bandcamp
Information about the release: https://en.wikipedia.org/wiki/I_Inside_the_Old_Year_Dying
#ThankYouMaam!