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Tuesday, April 14, 2026

Long-Awaited New Studio Album by Haircut 100 Due in May

Haircut 100 announce the release of the follow up to Pelican West, their smash debut album released in 1982. Boxing The Compass will be released on May 29 with a vinyl release to follow on June 26 via October is Orange Ltd, distributed in North America by BFD/The Orchard.

An unexpected second chapter in the Haircut 100 story gathered pace last year when their single ‘The Unloving Plum’, became Radio 2’s Record of the Week and the band played sold out shows across North America and The UK . Pre-Order Boxing The Compass here.

The band is known for the 1980s UK/US hits ‘Favourite Shirts (Boy Meets Girl)’, ‘Love Plus One’, ‘Fantastic Day’ and ‘Nobody’s Fool’.

Talking about the new album, frontman Nick Heyward says: "‘Boxing the Compass’ is the traditional way of finding out where you are on land or sea using the compass rose. We’re arriving back at the port we left 43 years ago with a log of songs from our personal travels. Wherever I’ve been in the world, I’ve always been Nick Heyward of Haircut 100 and we’re all ready to set sail again for more adventures on the high seas."

Bassist Les Nemes adds: "We still tend to record in the old school fashion as much as possible, the technology moves forward all the time but our creativity and the way we approach the writing, performance and recording still has its roots firmly in 1982.”

On capturing the 'Haircut' signature sound guitarist Graham Jones says: "When we were recording backing tracks with Sean Read at Famous Times Studio, he watched us working in our unique way and said something like, “Ahh, I get it, I see how you get the Haircut sound”. It’s what happens when you know and trust the other members to be themselves. We know when it’s not 'Haircut’."

Watch 'The Unloving Plum' on YouTube

Boxing The Compass will be just the second album from the classic line-up since 1982’s UK platinum-certified #2 record Pelican West (another album minus Nick Heyward, Paint and Paint, followed in 1984).

Nick Heyward (vocals/guitar), Graham Jones (guitar) and Les Nemes (bass) had reconvened to discuss issues around the band, but that business meeting felt more like a reunion of old friends. Things soon snowballed from a comeback gig at the O2 Shepherd’s Bush Empire to a full UK headline tour, with drummer Blair Cunningham also subsequently jumping back onboard.

Subsequent writing and recording sessions took place with Sean Read (Dexys) at Famous Times studio in East London. 

Nemes talks about recording together after such a long period of time. "When you are recording an album, you just have to turn up every day, the universe will take care of everything else and it has never let us down. All you have to do is trust, never question and the ideas will flow out of you.” He continues: "We are best mates but also .. we are a band, we live like a band, we talk like a band, we act and feel like a band and we play and record like a band, that is where the magic happens, we light a spark inside each other as soon as we switch on the amps, plug in and play the first note or kick drum beat. We don't think about it, it just happens and we trust that it always will.”

Jones adds: "Playing with Les, Blair and Nick never disappoints and always throws up surprises. When recording I just know that Blair will keep the band steady and tight, Les will play a melodic bass line you would never expect and Nick’s lyrics will take you somewhere you never knew existed.”

Boxing The Compass will be released on digital, CD and vinyl formats.

Listen to 'Dynamite' on YouTube:

Track list:

1. ‘Come Back To Me’
2. ‘Vanishing Point’
3. ‘Soul Bird’
4. ‘Raincloud’
5. ‘Sunshine’
6. ‘The Unloving Plum’
7. ‘Someone’
8. ‘That’s a Start’
9. ‘Dynamite’
10. ‘A Wonderful Life’

Monday, April 13, 2026

Coachella 2026 News: Laufey Unveils 'A Matter of Time' Deluxe Edition and New Music Video 'Madwoman' Feat. Hudson Williams, other celebs

Now available in stores and streaming is 'A Matter of Time: The Final Hour,' the deluxe edition of L.A.-based, Icelandic-Chinese artist, composer, producer and multi-instrumentalist Laufey's Grammy-winning album 'A Matter of Time.' The deluxe features four new songs: “Madwoman,” “How I Get,” “I Wait, I Wait, I Wait” and “I’ll Forget About You (In Time)” on the expanded record. The bonus tracks are just as elegant and alluring as the rest of the main album.
 
Get it here digitally and on all physical formats.

She played Coachella Festival in Indio yesterday evening on the Outdoor Theater stage (and returns next weekend). The dazzling hour-long presentation included dancers amid a 14-song set with a cover of Carmen Lombardo's Seems Like Old Times and jazz versions of "Fragile" and "Valentine."

Additionally, Laufey has a new music video for “Madwoman,” starring “Heated Rivalry” breakout Hudson Williams, Olympic champion Alysa Liu, Lola Tung of “The Summer I Turned Pretty” and “Forbidden Fruits,” and Megan Skiendiel of KATSEYE. Watch the video, directed by Warren Fu (Dua Lipa, The 1975, Daft Punk), here. See photo below. 

Filmed in LA in the weeks leading up to Laufey’s full-set Coachella debut, the video features an all-star cast of friends and heroes in a Slim Aarons-inspired world where the picture-perfect veneer is not quite as it seems.

“Growing up, I felt a general lack of representation for people who looked like me in music and media. With the ‘Madwoman’ video, I wanted to be that representation,” says Laufey. “The result is what honestly feels like my absolute dream video and exactly what younger Laufey would have loved to see.”

The video represents a convergence of Asian and Asian American talent both in front of and behind the camera—from the all-star cast to director Warren Fu, DP Andrew Truong, production designer Evaline Wu Huang, numerous heads of department, and executive producers Christine Yi and Maiqi Qin of Gold House, Julie Fong of Partizan Entertainment and Oscar Tang, co-founder of Committee of 100. The project celebrates that Asian representation in music, film, sports and the arts is responsible for some of the greatest stories shaping culture today.

Earlier this year, Laufey took home Best Traditional Pop Vocal Album for A Matter of Time at the 68th Grammy Awards. The win is her second in the category, following a statue for Bewitched at the 2024 awards which made her the youngest artist to win the honor. 

A Matter of Time was released to widespread critical acclaim in August, debuting at #4 on the Billboard 200 chart and #1 on the Jazz Albums chart (where it continues to hold a spot in the top 5). In January, Laufey was presented with Icelandic knighthood, the prestigious Order of the Falcon, by President Halla Tómasdóttir.

Laufey’s first children’s book, Mei Mei The Bunny, is set for release on April 21 via Penguin Random House. A live album, A Matter of Time: Live at Madison Square Garden, is set for release April 18 for Record Store Day.

'A Matter of Time: The Final Hour' Track Listing:

1. Clockwork
2. Lover Girl
3. Snow White
4. Castle in Hollywood
5. Carousel
6. Silver Lining
7. Too Little, Too Late
8. Cuckoo Ballet (Interlude)
9. Forget-Me-Not
10. Tough Luck
11. A Cautionary Tale
12. Mr. Eclectic
13. Clean Air
14. Sabotage
15. Seems Like Old Times
16. Madwoman
17. How I Get
18. I Wait, I Wait, I Wait
19. I'll Forget About You (In Time)

Laufey photo by Emma Craft.
'Madwoman' music video still by Warren Fu.
Courtesy Sacks & Co. PR

Saturday, April 11, 2026

Record Store Day 2026 News: The Cars - Heartbeat City Live LP

Last year, this Cars concert - recorded at Houston's The Summit in September 1984 - was part of Rhino Records' superb multi-disc Heartbeat City box set which included rare demos and various mixes. 

Now, for Record Store Day on April 18, Heartbeat City Live will get a limited 2LP release of 3500 copies. Originally issued on VHS and Laserdisc (remember those?) formats, it has been expanded with previously unreleased versions of “Candy-O” and “My Best Friend’s Girl.”

Half of the then-latest album was featured amid the 70-minute, 17-song set, alongside older top 40 pop chart hits like "Just What I Needed," "Touch & Go," "My Best Friend's Girl," and "Let's Go," and others. 

Although there was a common consensus at the time that The Cars were often boring live (unfortunately, I never got to see the original lineup or the brief reunion minus the late Ben Orr perform to weigh in), this concert sounds terrific. Singer/guitarist Ric Ocasek, lead guitarist/backing vocalist Elliot Easton, singer/bassist Orr, keyboardist/backing vocalist Greg Hawkes and drummer/backing vocalist Greg Robinson are all in fine form here. Among the standouts: an eerie "Moving in Stereo," "Magic," where Ocasek changes his vocal inflection slightly, and the closing rocking maelstrom of "You're All I've Got Tonight." I can just picture Easton at the front of the stage wailing away.  

Info: recordstoreday.com

Thursday, April 9, 2026

Coachella Festival 2026 News: The Strokes' New Album 'Reality Awaits' Due in June

The Strokes, performing Day 2 of Coachella Weekends 1+2, have announced Reality Awaits, the seventh studio album set for release on June 26 via Cult Records/RCA Records. —get it here

Peppy initial single “Going Shopping,” where frontman Julian Casablancas sounds like he's singing through a vocoder, is out now—listen here.

Recorded in Costa Rica with producer Rick Rubin (Tom Petty, Johnny Cash, Adele), Reality Awaits marks the band’s first new music since 2020’s The New Abnormal and subsequent world tour. 

The Strokes will play major festivals around the world this spring and summer including this weekend and next at Coachella, in addition to dates headlining Bonnaroo, Outside Lands, Japan’s Summer Sonic 2026 and more.

The NYC band - best known for 2000s alt-rock radio hits like "Last Nite," "Someday," "12:51," "Reptilia" and "Juicebox" - previously performed at Coachella in 2011 and 2002.

Track listing:

1. Psycho Shit
2. Dine N’Dash
3. Lonely in the Future
4. Falling out of Love
5. Going to Babble On
6. Going Shopping
7. Liar’s Remorse
8. The Fruits of Conquest
9. Pros and Cons

Redlands Bowl's 2026 Summer Music Festival Season Lineup

Redlands Bowl Summer Music Festival 2026 Season

Presented by Redlands Bowl Performing Arts

Friday, 6/19/26
Yacht Rock Symphony, featuring Ambrosia and John Ford Coley

Ambrosia, with original members Joe Puerta (bass) and Burleigh Drummond (drums), boasts 
hits from the 1970s and 80s soft rock era including "The Biggest Part of Me, "How Much I Feel," and "You’re the Only Woman." Singer John Ford Coley's hits include "I’d Really Love to See You Tonight," "We’ll Never Have to Say Goodbye Again," and "Nights are Forever Without You." Joining Ambrosia and John Ford Coley will be the Redlands Bowl Festival Orchestra under the baton of Maestro Nolan Livesay.

Tuesday, 6/23/26
Grand Finals of the Redlands Bowl Concerto Competition
Roger Kalia, Competition Music Director and Conductor


Finalists compete for the prestigious competition’s top prize. This year’s featured soloist will be musician Thomas Hooten, the principal trumpet player for the Los Angeles Philharmonic.

Friday, 6/26/26
Ticket to the Moon: The ELO Experience

Tuesday 6/30/26
Ashes & Arrows

The country/roots/bluegrass trio are from the mountains of Asheville, NC, and were 2024 finalists on America’s Got Talent.

Friday, 7/3/26
A Star-Spangled Evening of Patriotic Pops
Nolan Livesay, Producer and Conductor


The Redlands Bowl Festival Orchestra, singers, and Inland Master Chorale will perform. Debuting at the concert will be a commissioned work to celebrate the legacy of Abraham Lincoln and Redlands’ own Lincoln Shrine.

Tuesday, 7/7/26
The Filharmonics

An LA-based a cappella crew of young Filipino American singers, 
The Filharmonics were
showcased in NBC’S musical competition, The Sing-Off; and in the movie, Pitch Perfect 2. They went viral after a Late Late Show appearance with James Corden and Anna Kendrick.

Friday, 7/10/26
Leyenda Folklorico

A celebration of folklorico dance and mariachi music featuring Leyenda Folkorico, a Southern California based company who has brought the unique art forms to stages worldwide. The production will include 15 dancers, and 10 musicians.

Tuesday, 7/14/26
“The Sweet Caroline Tour” Starring Jay White

White 
has spent over 25 years performing in tribute to Neil Diamond including several long stints in Las Vegas. In 2008, he was cast by director Ron Howard to play Neil Diamond in the Academy Award nominated film Frost/Nixon. 

Friday, 7/17/26
The Hutchins Consort

The violin chamber ensemble performs on eight scaled violins crafted by Dr. Carleen Hutchins in the mid-20th century for optimum acoustic alignment. The Hutchins Consort will perform Vivaldi’s Four Seasons, and more. 

Thursday, 7/23/26 – Sunday, 7/26/26
Public Dress Rehearsal: Tuesday, 7/21/26
Disney’s Frozen: The Musical

Produced by Nathan Prince and Steve Simons of Legendary Productions
Directed by Nathan Prince

Tuesday, 7/28/26
TAIKOPROJECT

Founded in 2000 in Los Angeles, the 
Taiko drummers' modern American style of taiko blends traditional forms with a modern aesthetic. 2005 winners of the Tokyo International Taiko Contest.

Friday, 7/31/26
West Side Story in Concert

A collaboration with the Inland Master Chorale and its artistic director, Joseph Modica, t
he
evening welcomes soloists, a full orchestra, and over 60 members of the Chorale.

Tuesday, 8/4/26
Navy Band Southwest

The 38-member winds ensemble will do patriotic favorites including the armed services medley, big band, and hits by pop and country artists.

Friday, 8/7/26
The Doo Wop Project

Featuring five Broadway stars, this show comprises doo wop classics and reimagines contemporary songs by Daft Punk, Chris Stapleton and Taylor Swift as doo wop classics.

Tuesday, 8/11/26
The World Famous Glenn Miller Orchestra

Founded in 1956, it performs "In the Mood," "Chattanooga Choo Choo," "Boogie Woogie Bugle Boy," "A String of Pearls" and more. 

Friday, 8/14/26
Fireworks Finale

The Redlands Symphony Orchestra with featured soloist/violinist Miclen LaiPang, who will perform Tchaikovsky’s "Violin Concerto in D Major." Miclen is a past Redlands Bowl Young
Artist winner. Based in Paris, he maintains an active international schedule as a chamber musician and soloist and currently serves as a faculty member at the International Chamber Music Academy in Ochsenhausen, Germany,

Friday, 12/4/26
A Holiday Evening with Phat Cat Swinger

The range of musical styles comprise original music and reimagined favorites, as the 11-piece big band plays artists from Brian Setzer and Michael Bublé to Bruno Mars, in this holiday show.

For more information: RedlandsBowl.org.

Out now: 'Trixies' - Squeeze (Album Review)

Squeeze
Trixies
(BMG/Love)


For more than 50 years, the enduring Squeeze songwriting partnership between singer/guitarists Glenn Tilbrook and Chris Difford has produced some of the most memorable, finely crafted pop music ever to emerge from England.

Here in America, the award-winning band is best known for such pop/rock radio hits as “Black Coffee in Bed,” “Annie Get Your Gun,” “Hourglass” and “Tempted” (sung by onetime member Paul Carrack). Then there are college radio faves and UK hits from the late ‘70s/early ’80s like “Cool for Cats,” “Up the Junction,” and “Another Nail in My Heart.”

Now the duo is back with Trixies, its first studio album since 2017’s The Knowledge and it’s definitely a keeper. A highly engaging concept album revolving around fictitious British nightclub Trixies, the colorful characters and goings-on there, the tunes were originally written in 1974 (when Tilbrook was age 16 and Difford, 19), yet they got shelved before notoriety for Squeeze arrived.

Recently, the duo unearthed the original demos. They were surprised at how accomplished their teenage musician selves actually were and decided to flesh out the arrangements with the current eight-piece Squeeze lineup and others.

The results are sure to delight diehard fans. Tilbrook manages the lion’s share of lead vocals, as usual, but Difford also does a couple and they both harmonize throughout the 13 tracks. Trixies opens with the idyllic “What More Can I Say,” as Tilbrook sings about the bar past closing time: “The doors have all been closed…the lipstick has been smeared.” Difford had a knack for picturesque lyrics even then. A subtle, acoustic guitar led “You Get the Feeling” could've fit on the 1991 Play album, while the warm “The Place That We Call Mars” reminds of Mott the Hoople’s “All the Young Dudes.”

Highlights include the frantic, keyboard-dominant “Hell on Earth” (think: 1987's Babylon and On), slow burn rocker “Don’t Go Out in the Dark,” about the seedy area outside the club, the tension-filled rocker “Why Don’t You,” a luxurious Difford-sung “It’s Over” (also, about closing time at the club, with sonic shades of Prefab Sprout),” and the finger-snapping, subtle glam rock vibe of “The Jaguars,” surrounding a typical busy night. Tilbrook does some searing electric guitar work in various places, while the band provides exquisite power pop sounds via mellotron, celeste, vibraphone, harpsichord, and more. Snazzy up-tempo closer “Trixies Pt. 2” even features sax by Jeff Coffin (I assume the same musician from Dave Matthews Band).

Physical versions are strongly recommended due to the brilliant packaging design that should be nominated for a Grammy in 2027. Graphics for the 3CD edition – comprising the Trixies album, 1974 demos, two 2024 live tracks and the album in Dolby Atmos and 24bit Stereo Master - include a 4+2 panel fold out, with credits, a full color photo of the band in a club and Trixies show posters; the liner notes or “Concoctions Menu” contains lyrics and a detailed overview by UK music scribe Pete Paphides. The back states: “Difford and Tilbrook – The Mixologists Since 1973.”

Other formats are black, transparent pink or red LP and standard CD

www.squeezeofficial.com

Wednesday, April 8, 2026

Final Album by The Alarm Due in May

photo: Andrew Labrow
Transformation, the last Alarm studio album recorded by Mike Peters, who succumbed to cancer in 2025, is scheduled for May 29 via Twenty First Century Recordings/Virgin Music Group. It is now available for presale at the band's official webstore (thealarm.com).

“Mike lived a life of beauty and never gave up right to the very end,” says Jules Peters, the singer/guitarist's bandmate and wife. The latest single, “Live Today” just premiered. 

Filmed just days before Mike underwent the innovative CAR-T treatment with hopes of eradicating Richter’s Syndrome, an aggressive form of lymphoma, “Live Today” is Mike’s final video.

“As the sun rose, watching Mike perform this song with so much optimism and hope will live with me forever,” said Jules. “It was a bittersweet day for me as we filmed this incredible joyous film on the beach in the North of England. After filming concluded, we climbed onto the tour bus and drove straight to the Christie Hospital in Manchester, U.K.. We were full of determination that the pioneering CAR-T would save Mike’s life but, at the same time, I was personally terrified as I couldn’t shake off a feeling that cancer had finally caught up with us both.”

The video shows Mike performing without any hint of weakness, though his health was ailing at the time. “This video is such a difficult watch,” Jules said. “It broke my heart… but it captures the eternal essence of Mike Peters that keeps us coming back to him and his incredible songs time after time.”

Recording sessions for Transformation began spontaneously on October 7, 2024, and after various life-interventions, it was finally completed on the evening of January 15, 2025 - the night before he began his CAR-T therapy.

First single “Chimera” was poised as an allegorical rebirth when it was released on January 23, 2025 - the exact day his CAR-T therapy began. Symbolically encapsulating the Greek mythos of a chimera which embodies the characteristics of different animals into one body, Mike envisioned that he himself would become like the fabled creature. “When I have CAR-T therapy I will literally become chimeric,” stated Mike at the time. “There will be two types of blood flowing inside of me. Two individual types of DNA.”

Mike Peters first rose to prominence in the early 1980s with the original lineup of The Alarm, and enjoyed hit singles like "68 Guns," "Rain in the Summertime" and "45 RPM." 
Diagnosed with lymphoma in 1995 and later with chronic lymphocytic leukemia, Peters refused to let his illness silence him. Instead, he turned his fight into a mission to help others.

Alongside his wife Jules, he co-founded Love Hope Strength, a music-driven cancer charity that revolutionized awareness and action around stem cell donation that continues beyond his passing. Through its innovative “Get On The List” campaigns—often hosted at rock concerts and even atop mountains—the charity has added over 400,000 people to the global stem cell registry and helped secure thousands of potential life-saving matches for patients worldwide.

Jules concludes, “Mike and the spirit of The Alarm will ‘Live Today,’ forever more. I invite you all to blast Transformation out loud. Imagine Mike in the room with you. Transformation is his battle cry, his resilient love of life. Right to the very end, Mike believed that he was going to live, to be totally free. My last memory is driving him open top along the North Wales coast road, playing Transformation at maximum volume. He was so happy. So full of life. Playing his air drums, bass guitar, already imagining himself on his next world tour. So keep that positive spirit moving forwards. Imagine him as you all knew him best, striding out on to that stage, changing lives one concert at a time. This is an album of hope and a passionate celebration of a life well lived. Please do not be sad. Mike wouldn’t want that. He was so proud of this album and had the best time recording it during the last six months of his life. Blast it out loud like Mike did. Play along to the track list and most of all, be happy that we all had Mike in our lives and continue to do so. The music of Mike and The Alarm will always keep us strong”.

Track listing:

New Life
Chimera
Outlier
Saviour
Metaverse
Wired
One In A Million
Live Today
Soul Town
In Unity
To Be Alive
Love Makes Love

Coachella Festival 2026 Preview

A Potent Musical Mix Headed to Indio

George A. Paul and Robert Kinsler provided top picks for some acts set to appear at Coachella Valley Music and Arts Festival on April 10-12 and April 17-19 in today's Desert Star Weekly.

This year’s headliners are Sabrina Carpenter, Justin Bieber, and Karol G. Italian techno DJ Anyma - who performed at Sphere Las Vegas and the Giza pyramids - will also premiere his science fiction-meets-ancient mythology live production AEden. Nearly 150 established and emerging artists are scheduled to perform over the two consecutive weekends.

Fridays, April 10 and 17

Moby — Richard Melville Hall (better known as Moby) is a multi-instrumentalist singer-songwriter/producer who has successfully brought dance and electronica music to the mainstream around the globe. Between 1992 and 1997, he scored eight top 10 hits on the Billboard Dance Club Songs chart. His albums Play (1999), 18 (2002) and Always Centered at Night (2024) are essential listens; hopefully, his Coachella appearances will offer material from across a rich discography. (RK)

The xx — A favorite discovery at Coachella ’17, the British trio’s sublime turn included an opening segment with guitarist Romy Madley Croft and bassist Oliver Sim sharing exquisite vocals amid the lush “Say Something Loving” and otherworldly “Angels.” The xx are currently working on a fourth studio album — the first since 2017's UK chart-topper I See You — so Coachellagoers may hear new music during their highly-anticipated sets. (RK)

Saturdays, April 11 and 18

David Byrne – As leader for NYC’s Talking Heads, David Byrne and company crafted seminal Brian Eno-produced alt-rock albums like More Songs About Buildings and Food, Fear of Music, and Remain in Light during the late 1970s and ‘80s. They were later inducted into the Rock and Roll Hall of Fame. The singer’s solo career has been equally adventurous. Last year’s festive Who is the Sky? often recalled 1992’s Uh-Oh. It saw him collaborate with St. Vincent, Hayley Williams, and Ghost Train Orchestra with idiosyncratic results. Recent sets have included such Talking Heads classics as “Psycho Killer,” “Once in a Lifetime,” and “Life During Wartime.” (GAP)

Sombr – New Yorker Shane Boose (pictured above), who records under the name Sombr, put out one of the best albums of ’25 with the reverb-drenched, alternative pop and dance-leaning I Barely Know Her. Among the strongest debuts in recent memory, it spawned international hits “Undressed,” “12 to 12,” and “Back to Friends” (the latter resides in the Spotify “Billions Club”). Latest single “Homewrecker” is equally alluring. Sombr’s TV appearances have projected plenty of swagger, so it’ll be interesting to see how that translates outdoors here. (GAP)

Interpol — Back in 2015, Manhattan’s Interpol knocked me out with their nighttime appearance on the Coachella Stage. Blending indie, alternative, and post-punk into a signature dream-swept sound, singer-rhythm guitarist Paul Banks, lead guitarist Daniel Kessler, and drummer Sam Fogarino are sure to feature winning originals from across their 25-year career, including groundbreaking 2002 debut Turn on the Bright Lights and 2022 album The Other Side of Make-Believe. (RK)

Sundays, April 12 and 19

Iggy Pop – Widely considered the “Godfather of Punk, thanks to his pioneering and confrontational late 1960s-early ‘70s work with The Stooges, Pop jump-started a riveting solo career with David Bowie at his side. Their results included classics “Lust for Life” (frequently included in films, TV shows, and commercials), “China Girl,” “The Passenger,” and “Funtime.” Pop’s biggest mainstream hit, “Candy,” a duet with Kate Pierson of The B-52’s, arrived in 1990. More recently, 2023’s spiky Every Loser, produced by Andrew Watt, featured a star-studded guest list of alternative rockers. (GAP) 

Foster the People — Los Angeles-spawned Foster the People rose to fame in 2010 with the viral success of frontman Mark Foster's dance-minded crossover hit “Pumped Up Kicks.” The group's infectious synth rock-meets-dance pop approach has also yielded winning singles such as “Helena Beat,” “Houdini,” “Coming of Age” and “Sit Next to Me.” (RK)

Sombr photo by Bryce Glenn, courtesy Warner Records
David Byrne photo by Shervin Lainez, courtesy Matador Records/Grandstand Media
Iggy Pop concert photo by Marc Ducet, courtesy of EarMusic 

Monday, April 6, 2026

Book of Love's eponymous debut to get special LP reissue in June

Synth-pop band Book of Love will release a 40th Anniversary edition of their self-titled debut, on June 26 via Rhino Records. Originally released on April 1, 1986, Book of Love gained popularity thanks to its songs “Boy,” “I Touch Roses,” and “You Make Me Feel So Good” and more.

40 years later, this special anniversary edition – remastered by its original engineer, Ted Jensen – will arrive during Pride Month in a clear vinyl variant. The album artwork has also been refreshed in collaboration with original art director Nick Egan to honor the anniversary, including a four-page insert featuring outtakes from the iconic photo session with Michael Halsband.

It also features new liner notes by writer and music historian Kurt B. Reighley, who sat down with founding members Susan Ottaviano and Ted Ottaviano. 

Grammy-winning producer Dave Audé has also shared a new remix of “Boy,” reimagining the band’s breakout single. Listen HERE.

A Message from Book of Love:

We are thrilled that April 1 marked the 40th anniversary of the release of our self-titled debut album. To celebrate the occasion, Rhino Records will be releasing a newly remastered edition of the album, available both digitally and–we’re especially happy to share–on vinyl. The album has never sounded better!

Working with Rhino on this anniversary vinyl edition has truly been a labor of love. This album has always had a life of its own, and it’s been incredibly meaningful to revisit it. We’ve been fortunate to reunite much of the original creative team for this special release. We’re so grateful for the love this record has received over the years and are excited to celebrate this milestone with all of you.

Track list (LP):

Side One
1. Modigliani (Lost in Your Eyes)
2. You Make Me Feel So Good
3. Still Angry
4. White Lies
5. Lost Souls
6. Late Show

Side Two
7. I Touch Roses
8. Yellow Sky
9. Boy
10. Happy Day
11. Die Matrosen
12. Book of Love

Thursday, April 2, 2026

Coachella 2026 News: Disclosure Unveil New Single Ahead of Tour

Disclosure return with their new single “The Sun Comes Up Tremendous,” featuring lead vocals from co-founder Howard Lawrence. Listen HERE. Out now via Disorder / Capitol Records, it is accompanied by an official music video. Watch HERE.

The first Disclosure song to feature lead vocals from Howard since 2023’s chart-topping Alchemy, “The Sun Comes Up Tremendous” premieres as he and brother Guy Lawrence get set to embark on their Spring 2026 North America Tour — a headline trek now including newly added DJ shows in seven cities across the continent. See below for the full list of tour dates.

The follow-up to Deeper (a collaboration with Leon Thomas), “The Sun Comes Up Tremendous” arrives as the first new music from Disclosure in 2026.

Directed by Colt Grice and Moldyroom and filmed near the coast in Los Angeles, the video for “The Sun Comes Up Tremendous” finds Guy and Howard performing face-to-face in an open-air structure overlooking the ocean at dusk. Over the course of the visual, light slowly fades from the sky and leaves Disclosure in darkness.

North America Tour:

April 7 Santa Barbara, CA Santa Barbara Bowl *
April 8 Santa Barbara, CA Santa Barbara Bowl +
April 10 Indio, CA Coachella
April 10 Thermal, CA Atlantic Aviation TRM %
April 11 Dallas, TX Breakaway Music Festival Dallas 2026
April 17 Indio, CA Coachella
April 18 Vancouver, BC PNE Forum
April 18 Vancouver, BC Blueprint %
April 19 Salt Lake City, UT The Complex %
April 23 Denver, CO Mission Ballroom ^
April 24 Denver, CO Mission Ballroom +
April 25 Denver, CO Mission Ballroom *
April 30 Raleigh, NC Red Hat Amphitheater &
May 1 Atlanta, GA The Eastern +
May 1 Atlanta, GA District Atlanta %
May 2 Atlanta, GA The Eastern #
May 3 Miami, FL Club Space %
May 5 Nashville, TN The Pinnacle &
May 6 Washington, DC Echostage %
May 7 Detroit, MI Masonic Temple Theatre #
May 8 Chicago, IL The Salt Shed Outdoors #
May 8 Chicago, IL Radius Chicago %
May 9 Chicago, IL The Salt Shed Outdoors **
May 10 Chicago, IL The Salt Shed Outdoors

% DJ show
* with JADALAREIGN
+ with Todd Edwards
^ with Chloé Robinson
& with Malugi
# with Laurence Guy
** with Mike Dunn

The Temper Trap set to return with first studio album in a decade this summer, along with Muse tour

The Temper Trap have announced Sungazer, their first studio album in 10 years and fourth overall, will arrive July 10. The band supports Muse across North America this July-August and recently returned to international television on Jimmy Kimmel Live! performing “Giving Up Air”.

Best known in America for the platinum, top 20 alt-rock radio hit “Sweet Disposition” in 2008, the Aussie group collectively decided in 2018 that it was time to face their burnout, rediscover their artistic identities, and live life. Lead singer Dougy Mandagi moved to Berlin and immersed himself in the city’s electronic music culture before relocating to his home country Indonesia; drummer Toby Dundas set up a recording studio and began scoring for films; bassist Jonathon Aherne released a solo project from his home base in America; and guitarist Joseph Greer threw his energy into teaching.

Only when it felt right, after a four-year hiatus from touring and writing, did the band tentatively head back into the studio - and immediately felt an inspiring energy. They worked between continents, sent demos back and forth, and convened in Melbourne for studio dates.

The Temper Trap set out to create a record that authentically reflects who they are today, and it unequivocally distils two decades of experience into an album that is as invigoratingly surprising as it is unmistakably theirs.

“With time apart and much personal growth from us all, Sungazer feels like it’s captured the most pure collection of music we’ve ever made. We had more fun making this record and in the writing room than on any of the previous records we’ve done. We’re in a great place creatively and in our friendships, we’re closer than ever. Being back into the studio together really felt like coming home.” - The Temper Trap

WATCH: The Temper Trap – ‘Sungazer (Official Visualiser)’

“Sungazer is a song I wrote as a declaration to my little boy Ziggy before he was born. The lyrics are a promise to him, to be with him throughout his life.” - Dougy Mandagi

Already clocking millions of streams and cracking top 30 US alternative radio charts, the songs we’ve heard from Sungazer so far – “Giving Up Air,” “Into The Wild” and “Lucky Dimes” - have added to the anticipation. 

PRE-SAVE / PRE-ORDER
SUNGAZER (ALBUM)

Track listing:

1. Lucky Dimes
2. Into The Wild
3. These Arms
4. Bird on a Wire
5. Giving Up Air
6. Sungazer
7. Lifeline
8. Runaways
9. Halfway
10. Dystopia Radio
11. Kuru

NORTH AMERICAN TOUR:

07/04/26 – Milwaukee, WI @ Summerfest 2026
07/05/26 – Maryland Heights, MO @ The Wow Signal Tour – supporting Muse
07/07/26 – Noblesville, IN @ Ruoff Music Center – supporting Muse
07/10/26 – Tinley Park, IL @ Credit Union 1 Amphitheatre – supporting Muse
07/11/26 – Cincinnati, OH @ Riverbend Music Center – supporting Muse
07/13/26 – Clarkston, MI @ Pine Knob Music Theatre – supporting Muse
07/15/26 – Toronto, ON @ RBC Amphitheatre – supporting Muse
07/18/26 – Mansfield, MA @ Xfinity Center – supporting Muse
07/22/26 – Holmdel, NJ @ PNC Bank Arts Center – supporting Muse
07/24/26 – Saratoga Springs, NY @ Albany Med Health System at SPAC – supporting Muse
07/25/26 – Wantagh, NY @ Northwell at Jones Beach Theater – supporting Muse
07/28/26 – Columbia, MD @ Merriweather Post Pavilion – supporting Muse
07/29/26 – Camden, NJ @ Freedom Mortgage Pavilion – supporting Muse
08/09/26 – San Francisco, CA @ Outside Lands
08/10/26 – Charlotte, NC @ Truliant Amphitheater – supporting Muse
08/12/26 – Atlanta, GA @ Lakewood Amphitheatre – supporting Muse
08/14/26 – Dallas, TX @ Dos Equis Pavilion – supporting Muse
08/15/26 – Austin, TX @ Germania Insurance Amphitheater – supporting Muse
08/18/26 – Greenwood Village, CO @ Fiddler’s Green Amphitheatre – supporting Muse
08/20/26 – West Valley City, UT @ Utah First Credit Union Amphitheatre – supporting Muse
08/22/26 – Ridgefield, WA @ Cascades Amphitheater – supporting Muse
08/23/26 – Auburn, WA @ White River Amphitheatre – supporting Muse
08/26/26 – Wheatland, CA @ Toyota Amphitheatre – supporting Muse
08/27/26 – Mountain View, CA @ Shoreline Amphitheatre – supporting Muse
08/29/26 – Chula Vista, CA @ North Island Credit Union Amphitheatre – supporting Muse
08/31/26 – Los Angeles, CA @ Hollywood Bowl – supporting Muse

Coachella Festival '26 News: Livestream Info

YouTube and Coachella have teamed up once again to present the Coachella Livestream.

The countdown for Coachella 2026 is officially on so set your reminders for Friday, April 10 @ 4 PM PT / 7 PM ET on Coachella’s YouTube Channel.

What's New & Improved:

● 7 Stages: This year seven stages are livestreaming simultaneously. This includes the Quasar stage in both horizontal and vertical formats, with the vertical feed shot on Pixel.

● 4K Resolution: For the first time, the Coachella Stage, Outdoor Theatre and Sahara will livestream in 4K. 

● Bringing Stations to Coachella: In addition to the festival livestream fans will have access to “Coachella TV,” a 24/7 interactive and uninterrupted music viewing experience featuring both archival performances and 2026 festival highlights. The station will be updated with performance highlights following each weekend.

● Multiview Living Room Experience: Last year, over half of Coachella’s total livestream watchtime came from the living room. With Multiview, fans don’t have to choose between their favorite sets. They can stream up to four stages at once on their TVs and effortlessly toggling between audio feeds for a custom festival experience from home.

● "Watch With" is Back: The interactive "Watch With" series returns Weekend 2. Join Valkyrae for KATSEYE, vibe to KAROL G with Terry and Kaniyia, or dive into Fujii Kaze with Daniel Wall. It’s the ultimate watch party, shared with creators.

● Virtual Merchandise Store: Get limited-edition merchandise through YouTube Shopping. This year fans can snag exclusive drops from BINI, Ethel Cain, Foster the People, KATSEYE, Laufey, The xx, Turnstile, Young Thug. Whether you’re on your phone, at your desk, or watching on the big screen, just click the shopping button or scan the QR code. 

Pro Tips for the Best Virtual Coachella Experience:

● Set your notifications on Coachella's YouTube channel here.

● Download the Coachella Livestream app on Android or iOS to plan your livestream schedule, synced to your timezone and discover new artists to add to your lineup with the help of Google Gemini.

● Get in the zone with new Coachella playlists like Desert Dance, Coachella 2026: Sonora, and Coachella 2026: The Lineup on YouTube Music.

● Follow @youtube and @youtubemusic on social media to catch all the behind-the-scenes action from favorite artists and creators on the ground.

Q&A with Chris Dalla Riva, author of 'Uncharted Territory'

I had a great Zoom interview with author Chris Dalla Riva this past January about his book "Uncharted Territory," published in 2025 through Bloomsbury Academic. Below is more from our chat that didn't fit into my main feature story (see elsewhere on this blog).

Question: For starters, I wanted to get some background. When did your relationship with music begin? Were your parents playing music around the house when you were young?

Answer: I play. My first musical love is making music. I have a guitar right here. I have a little keyboard to the left of me. I still play in bands. I write and record music. I got into that when I was in middle school and I was sort of unique in the sense that no one in my immediate family plays music, plays any instruments, or writes songs.

I was saying to someone the other day that I don’t come from a musical family, and they [said], ‘It sounds like you actually do.’ Because music was definitely something that was around. My parents are both very into music and they were always taking us to concerts and stuff.

So, music was part of our.lives. But in terms of becoming obsessive about it and trying to write songs, that was a personal endeavor that started in middle school. That was when I really started to get into it by way of classic rock.

Q: Did you take up an instrument in school?

A: Yeah. And when they offered it to us in fourth grade, I started playing the trumpet, though that only lasted two years. And then I started taking guitar lessons, I think it was in fifth or sixth grade. I still stick with it to this day. I’m actually recording music tomorrow. I still talk to my guitar teacher [who is] retired, regularly. It’s still very much part of my life.

Q: Turning to the book, the impetus for it stemmed from when you decided to listen to every #1 song on the Billboard Hot 100. Was it just due to boredom one day? Is that what prompted it initially?

A:
Yeah…boredom was definitely a big part of it. I work in the music industry now, but after I’d just graduated from college, I was working in the fascinating world of economic consulting, which is not as fascinating as I just jokingly made it [out to be]. I learned a lot of great skills there, but it was not somewhere where I wanted to be long term.

I was working in spreadsheets all day and I just wanted another musical outlet in my life, so I came up with this idea: I'm [going to] listen to every Hot 100 #1 hit. I’d come home after work, put on a song, maybe I’d pick up my guitar, play along with it, read some information about the song.

Because I was working in spreadsheets all day, I started tracking all the songs in a spreadsheet and I would rate them out of 10. I would track the ratings, but slowly, I started adding more information to the spreadsheet.

I suddenly had this giant data set. I noticed some trends and I felt compelled to start writing about them. And from there, a book very slowly began to emerge over a handful of years, but I did not set out initially to write a book. It was something that just happened. But yeah - boredom, musical interest. That’s why I started listening.

Q: When did you start recruiting your best friend to start listening and rating the songs and then get your other friends and family involved?

A:
I was probably 10 songs in and I mentioned to my buddy that I was doing this, and he’s also super into music. He [asked], ‘Could I do it with you? I [said}, ‘Yeah, sure. That sounds like more fun.’ He quickly listened to whatever 10 songs he was behind and caught up to me.

And then every day I would send him whatever the new song was, and we would talk about it, we would rate them. And then over time, I started to ask other people to listen to the songs too.

Usually I would usually ask a friend, family member, or colleague first [about] a stretch of 20 to 25 songs, and I would have them listen, give a rating, and provide some additional perspective on the song.

At the end of each chapter in the book, I note, ‘The Best and Worst Songs From the Era.’ And that's based on these song ratings...my friend and I are somewhat like-minded.

I thought it would be more interesting if I brought another person to maybe give us some new perspective on these songs too. That was the fun part about this - it was certainly a personal journey to some degree, but it was a good reminder of the communal nature of music and how important it is to share songs with other people.

Those great musical moments [are] not really when we're sitting by ourselves listening, but when we're listening to other people or seeing someone perform live. It was a good reminder of that.

Q: When you started getting other people involved at the ratings, did you have the book in mind yet or was it still in flux at that point?

A:
I wrote a little blurb about teenage tragedy songs, which formed the basis of the first chapter of the book, and I sent that off to an English professor I had in college. He said, ‘This is pretty good. You should keep at this.’ Then I just kept writing and by the time I was asking other people to come in and rate songs…I knew that what I was working on was going to be the length of a book. If it would ever get published? I had no idea.

What took even longer than writing the book was finding a publisher. I knew I had a book's length of content by the time I started recruiting other people into this madness. By that point it was probably sometime when I was [up to] the middle of the 1960s or near the end of the 1960s in my listening journey.

Q: When the book was starting to take shape, did you strive to make its tone breezy and easily accessible, with a touch of humor? You incorporate your family and friends’ lives, so it isn’t what could’ve easily been a boring book of facts and figures.

A:
Yeah, definitely. I think the book is strange. In one sense, and maybe this was part of the difficulty that I had with initially finding a publisher, you could read the book as just a series of unconnected essays, each about a different era of music.

But as the book began to take shape, I tried to connect things to them that would come up again and again throughout the book. But I did want it to be light and breezy because I talk about some heavy topics in the book [such as] racism and gender representation and problematic artists.

So, there are many heavy, important topics, but at the same time we are talking about #1 hits. These are things you hear on the radio, things you'd go out to a bar and you would hear and you would dance to, really silly songs [and I wanted to find out], How did that ever become popular?

I wanted to have this contradictory [element]. I wanted to be able to do both those things where I could keep it light and breezy, but I could also talk about and tie these songs into a larger conversation about bigger topics. I think if it was just all seriousness the whole way, it would first be a misunderstanding of what popular music is, but second, I would've lost more people along the way.

Q: I liked how you made it relatable by including antidotes about your friends and family and gave that perspective.

A:
Thank you. I like that I'm sort of a character in the book. I know some people advise you against that [because] most people reading it don't know who I am. I thought that including some random anecdotes or experiences people I knew had with these songs, people would be able to relate to it because, and I've heard this from readers, maybe it wasn't a song that I talked about, but they had some specific experience with a song that was something that I related.

It made them remember, because I think these are songs people experience in their everyday lives. That's how popular they are. So I thought it was important to tie stuff like that in

Q: As a big Springsteen fan, it resonated with me when you wrote about how when you were younger your father played you a demo of a Springsteen song and it blew your mind. I thought that was cool.

A:
Yeah. Definitely. I also am a big Springsteen fan, which I think the book makes clear. That specific thing: I remember my dad was going to buy a tree. He wanted to plant a tree in our front yard, and we were at the nursery. Then we were in the car and he played an acoustic demo of ‘Growing Up’ that’s on [the first] ‘Tracks’ [box set]. I was just entranced and my dad made this comment about how, it sounds like Springsteen is singing in a closet; it's just the driest vocal tone you could ever possibly achieve. For me that's like the canonical version of the song still. I like the studio version, but that's the one I always go back to more often.

Q: At one point in the book, you write that you're not trying to present an overall pop music history, but I think you do a good job at giving the casual music fan a thumbnail sketch of the different topics. Was it hard to fit everything in that you wanted to and find that balance?

A:
Yeah, definitely. It was especially hard when the publisher gives you a word count to stay under. So, I had to pick and choose. [Yet] they were very flexible and accommodating. But I did have to cut out certain parts of the book that I [felt was] maybe too technical. Or [it was] less interesting, and there were other books you could turn to if you want a history of popular music in the last 60 years that will go into stuff in a bit more detail.

I wanted to go with more of a topics-oriented approach, so you could get a sense of that history, but you could also get a sense of how the music industry works and how that has changed over time. Even covering 65 years, even if I wanted to, you still have to pick and choose what you want to talk about. You can't cover everything. I want to hit the big stuff. Like can you talk about popular music in the Sixties without talking about the Beatles? Probably not. I mean, you could. It would be very strange. The stuff that ends up staying [in the book] was the stuff I thought was the most interesting. There was other stuff that made the cutting room floor.

Q: I was impressed that you offered food for thought on the prevailing notion that grouping popular music by decade doesn't really make sense because trends don't stop on December 31st of a year ending in ‘9.’ That's something I'm guilty of as a music journalist.

A: I’m being a little bit over the top there. It makes sense to some degree - like we have to group things in some way, but I'm sure even when there's this idea, I've heard people say or talk about online and argue about when did the Eighties actually begin?

Some people pick a date in the late Seventies. [When did] what we associate with the Eighties actually start or when did the Sixties actually end? Some people say the musical ideas really go until, 1972 or something. It's certainly more flexible. But yeah, I do the same thing too.

If I'm also going to talk about music from the 1980s, people generally get a sense of what you're saying if I say Eighties music, but it's not a complete picture.

Q: I've found in interviewing some musicians from past eras that I have to be careful not to say they are an Eighties act because they sometimes get offended. 

A:
It's always interesting with artists who were very popular for a short time, but they keep. making music for decades…but there's a reason people want to talk about certain things over and over again.

Q: While researching the No. 1 songs in pop music, did anything surprise you that you didn't know before?

A:
I felt like I was surprised constantly, especially with the older decades. Once I got to 2005. I was pretty familiar with it. But I have conscious memories of all of those [other] songs. There's a lot of stuff I grew up with, but there is this bias we have about the past, and I talk about it a lot in the book. We look back at the Sixties and we’re like, “Wow, music was so good then - you had the Beatles and the Rolling Stones, The Beach Boys, Phil Spector, Motown.'

What you realize is, you listen to the Sixties [tunes], which were great, but as you go through all these songs, you realize we just don't listen to a lot of the bad stuff anymore.

I was constantly surprised by how you could have an overflow of great music. The mid-Sixties to late-Sixties is a great example, but at the same time, you know, you’re still getting bubble gum that's floating to the top of the charts.

One of them, no offense to Herb Alpert, is not my favorite music from the 1960s. Certainly not a guy that people are listening to [much] these days. He sold as many records as the Beatles or something ridiculous. And you sort of see that when there's tons of acts like that where you see looking at the charts.

Another good example from the Sixties is, I feel like the perspective now about the Vietnam War is this was a horrible thing that happened. But there was a #1 song, the ‘Ballad of the Green Berets’ at the height, as Vietnam is really ramping up, that's sort of celebrating the life of a military man, which you would not associate with that era or certainly a perspective that people held at the time.

It's not like every single person was opposed to the Vietnam War. Despite what we know now. Those are some examples, but every era, I would feel that with. I'd [realize], ‘Oh, I didn't know this was popular. I understand why we stopped listening to this.’ Or artists who I thought were really popular actually weren't. It wasn't Led Zeppelin at the top of the pop charts; it was Barbara Streisand and Neil Diamond.

[Led Zeppelin] still sold a gazillion records, but the point stands.

Q: Being in Southern California, I wanted to briefly touch upon the 1961-65 chapter where you discussed surf rock. Do you think that brief chart inundation still would've happened without the Beach Boys bringing that lifestyle to the masses?

A:
Yes, I think surf rock, to my knowledge, was already a burgeoning style by the time the Beach Boys come onto the scene. They give their own flair to it with those doo-wop-style, Four Freshman-style harmonies. The Beach Boys definitely turbocharge this and bring it to the masses, and they're really the only artists, the only surf rock artists, to survive at the end of that short-lived genre.

I've talked to other people [about whether] the Beach Boys legacy is smaller than it could be because their name, the Beach Boys, where people still associate them with this very short-lived, somewhat provincial musical movement, when in reality they ended up transcending that. The movement would've happened without them. They definitely brought it to more people and they stand as a symbol of that whole thing, even though not all of their music is representative of the style.

Q: Later in the Sixties, there were a lot of socially conscious songs, about Vietnam, civil rights assassinations. We haven't really seen many socially conscious hit songs making it big in the last decade or so. Why do you think that is? Was it just the period of time back in the Sixties? There were probably some rap songs about Black Lives Matter, but not many that I recall.

A:
The biggest one is Kendrick Lamar’s song ‘Alright.’ 
That was certainly political in nature. But you're a hundred percent right. I think the concentration of socially conscious songs was very unique to the end of the 1960s. I think part of that was just everything in the air at the time. The Civil Rights Act gets passed. There’s tons of social and political tumult through these assassinations, and I think artists are really influenced by stuff like that.

Not to say there's no tumult now, but at the same time, there's more ways for people to express themselves. You can upload to a gazillion different social media platforms. I think because of that, music is sometimes less often the place people turn to when they're trying to express political opinions or their political grievances.

The Sixties is pretty unique in that regard. I've thought about trying to measure it before, but I think it's actually very tricky to systematically define what a political or socially conscious song is. I've never done it, but based on my listening experience, it is concentrated at the end of the mid-to-late Sixties.

Q: Another part of the book I found quite interesting was when you dispel the notion about the success of the Beatles and Dylan prompting people to suddenly write their own music and you write about how Buddy Holly and Chuck Berry had already been writing their own songs by then. It really wasn't unique to The Beatles and Bob Dylan writing their own music, but a lot of people ascribe that influence to them.

A:
That's one of my favorite things I learned while writing this book - that we definitely ascribe certain innovations to the biggest musical artists. You could see people online crediting the Beatles with basically everything that happened in the 1960s. The Beatles certainly were influential. John Lennon and Paul McCartney were writing their own songs that were super popular. Of course, that's going to influence other people to write their own songs.

But you do see in the decade prior, a sharp uptick in people writing their own songs. The Beatles are part of that lineage. When you listen to interviews of them talking about who their influences were, it was typically guys who were writing their own songs: the Buddy Hollys and Eddie Cochranes of the world.

Q: Since I went to high school in the eighties, one of my favorite chapters was where you talk about the rise of MTV and the second British Invasion on the pop charts and how the drum machine rose to prominence in that era. Do you think technological innovations of that time made the #1 hits more durable? Nowadays, it seems like we’re still seeing a lot of 1980s songs appear on shows like Stranger Things, TV commercials, movies. Did you get a sense of that when you were writing the book?

A:
Yes. The Eighties are definitely in vogue right now. Even beyond just ‘Stranger Things’ and other television shows actually using songs from the Eighties. You're definitely right that if you turn on the radio, you hear a lot of Eighties signifiers still. [Yet] I think some stuff from the Eighties sound somewhat dated. Especially when people were just beginning to experiment with drum machines.

I don't know if it's technologically related, but I think part of the durability is just a lot of artists now probably grew up with parents who liked it and were conscious in the Eighties. That music has been handed down to them. I would guess in a couple years, you may see the same thing with the Nineties…Time moves in that way. Whereas, in the Seventies, there was a bit of a Fifties revival with ‘Happy Days’ and ‘American Graffiti.’ I think we see that stuff repeatedly.

Q: At the end of the book, you list three musical truths that you discovered, and I wondered if you could elaborate more on the third one where you talk about if somebody claims something is not real music, that they subconsciously actually like part of it.

A:
What I'm getting at here is something that I've experienced. When I first got into music, it was via classic rock. Part of the classic rock myth is that these were people who were creating music with their hands and were writing their own songs. They weren't performing with any frills.

What I've come to see over time is that a lot of those artists were just using technology in their own way. If someone wants to use a drum machine, pitch correction or autotune - like how Cher used it on ‘Believe’ or how T-Pain used it in the 2000s - you may not like it, but you're probably just convincing yourself that the music that you like is purer in some way when it's not necessarily the case.

Led Zeppelin could not exist without the electric guitar, which is a different piece of musical technology. I'm sure there was someone back in the day who thought that plugging the guitar in destroyed the realness of the instrument.

You see this again and again where people talk about in the Fifties, adding echo or compression to your voice is distorting what your real true voice sounds like. I just hit on this idea that you probably in your head created some arbitrary definition of what is 'real,' what is true and what is not. when it's usually a bit fuzzier than that.

Your favorite artists are probably doing things that might not meet the bar that you think honest music should meet. I say all that to basically say, ‘If you like something, you should just think that it's good and you should like it.’ You shouldn't necessarily have to argue that it's the true, honest way to make music. There are a lot of ways to make music. I try to become less biased like that.

Music Book Feature on 'Uncharted Territory' by Chris Dalla Riva

My fascination with pop music charts began at age 10. Every Sunday morning, I listened to “American Top 40 with Casey Kasem.” The syndicated radio countdown show was based on the Hot 100 singles tally from music trade magazine Billboard. I might have been the only pre-teen among my peers with a subscription.

Wherever the family went, I brought my portable Sony Walkman tuned to a SoCal affiliate station, headphones, a notepad, and pen, all ready to jot down artists, song titles, and the weekly chart positions for four hours. Then I meticulously designed a colorful chart and hung it on the wall. This endeavor continued until my junior year of high school when my priorities and taste in music shifted, but that early attention to detail would later serve me well as a journalist. 

Flashing forward to the present, “Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves” (Bloomsbury) immediately drew my attention. While absorbing those countdowns as a kid, I was always fascinated by the songs' chart trajectories and backstories. The book enlightened me about why a variety of factors determined the musical compositions' popularity. 

Author Chris Dalla Riva examines Billboard No. 1 pop hits from the past six decades and provides thought-provoking insights. It is geared toward past or present pop chart enthusiasts like me, trivia buffs, casual music listeners and beyond.

Back in 2017, Dalla Riva, a self-described musician and data junkie, was an economic consultant who wanted another musical outlet in his life. After coming across a Spotify playlist of every Billboard chart topper since 1958 (when the ranking first appeared), Dalla Riva decided to listen to them chronologically. 

“I’d come home after work, put on a song, maybe pick up my guitar and play along with it, read some information about the song,” recalls the author – now a New Jersey-based data analyst for on-demand music streaming/audio discovery platform Audiomack – in a video interview.

He tracked the tunes’ songwriters, producers, time signatures, lyrical complexities, and various facts in a spreadsheet. An example of the latter: I was quite surprised to discover the Golden State is among only four states to appear in the title of a No. 1 single, and that there weren't more songs besides the Eagles’ “Hotel California,” 2Pac feat. Dr. Dre’s “California Love,” and Katy Perry feat. Snoop Dogg’s “California Gurls.” Moreover, New York didn't even make the cut (the other states were Georgia, Kansas and Texas). 

The shortest song to ever reach the top spot? “Stay” by Maurice Williams and the Zodiacs, which clocks in at 96 seconds.

Having amassed “a giant data set,” Dalla Riva noticed some trends. “I felt compelled to start writing about them (and) f
rom there, a book slowly began to emerge over a handful of years.” He uses the information to tell the story of American popular music through musical, historical, and analytical lenses.

Dalla Riva rated the tunes on a scale of 10 and later recruited willing family, friends, and colleagues to help evaluate up to 25 songs. The results comprise the end of each chapter, divided into what the author terms highlights, lowlights, argument starters, odd and ends and everything else from each era, stopping at January 2025 (1,176 songs in total).

“I thought it would be more interesting if I brought another person to give some new perspectives on these songs,” he says. “That was the fun part. It was certainly a personal journey to some degree, but [also] a good reminder of the communal nature of music and how important it is to share songs with other people.”

Dalla Riva strove to making the book’s tone light and breezy “because I talk about some heavy topics” such as “racism, gender representation, and problematic artists…but at the same time, we are talking about No. 1 hits. These are things you hear on the radio, things you’d go out to a bar and hear and dance to; [often] really silly songs.”

He wanted to find out how they became popular and discuss what “tied these songs into a larger conversation about bigger topics.” In the 1960s, for instance, then-seemingly innocuous lyrics to such big hits as Elvis Presley’s “Stuck on You,” Ricky Nelson’s “Travelin’ Man” and Johnny Preston’s “Running Bear” could be considered predatory or stereotypical – and therefore offensive – in today’s society. Another chapter delves into a group of socially conscious songs later that decade spurred by the Vietnam War, civil rights, and assassinations. 

“Uncharted Territory” is also frequently infused with humorous footnotes, easy-to-decipher graphs and charts, plus personal tales from Dalla Riva’s own life, like how his 10th grade mind was blown after his father played a Bruce Springsteen demo of “Grown’ Up.”

“I thought that including some random anecdotes or experiences people I knew had with these songs” would make the book more relatable.

Dalla Riva does an excellent job at providing a condensed music history where even a veteran music journalist can still learn a few things, such as the drum machine’s development and influence on my favorite music period, pop and New Wave of the early-to-mid-1980s.

The author’s topics-oriented approach also provides “a sense of that history” and an idea about “how the music industry works and changed over time,” he explains. Other notable subject matter includes the Beatles and Bob Dylan’s influence on music, short-lived trends (surf rock dance crazes), how Billboard shifting to Soundscan point-of-sale data transformed the charts during the early ‘90s, copyright infringement, the rise of sampling and much more.

After tearing through "Uncharted Territory" in a weekend - it's a really fun and easy read, with a comprehensive bibliography and index - I gained an even better understanding about the reasons why so many popular songs have become an integral part of our lives.

All told, Dalla Riva wants readers to “listen to some songs they never heard before; both good and bad. That's a goal of mine. I like to share music with people, so I hope that's the case. The through line is how technology impacts popular music over and over again throughout the decades, from the establishment of recording to radio and streaming.”

SOCAL CHART TOPPERS

Performers with SoCal roots have hit the Hot 100’s pole position several times over the years. Below is a select list:

1960s – Jan & Dean, The Beach Boys, The Monkees, The Doors, The Mamas and Papas, The Byrds
1970s - Three Dog Night, Carpenters, Eagles, The Knack
1980s - Van Halen, Toto, Bangles, Guns ‘N Roses, Berlin, Los Lobos
1990s - 2 Pac
2000s-2020s - Snoop Dogg, Gwen Stefani, Maroon 5, Kendrick Lamar

To view the author’s dataset and playlist used to write the book or subscribe to his Substack,
go to chrisdallariva.com/unchartedterritory
. The books can be purchased at Amazon and most major retailers.

A version of my article originally appeared in Premium, a semi-monthly magazine for print subscribers of SoCal News Group (SCNG) papers such as the OC Register, Riverside Press-Enterprise, LA Daily News and San Diego Union-Tribune.