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Pixies Unearth Four Archival Tracks, Including Albini Version of “Dig for Fire”

Pixies have put four previously vaulted tracks on streaming for the first time: an early Steve Albini-recorded "Dig for Fire" from the late-1987 Surfer Rosa sessions, "Go Man Go," "Brackish Boy," and "Punk Loop." They had only appeared last month on bonus 7-inches bundled with limited Dinked editions of the remastered Bossanova and Trompe le Monde. The most tangled history belongs to "Go Man Go," co-written by Black Francis and Kim Deal and recorded by both Pixies (Bossanova era) and The Breeders (Last Splash era) without making either album, while "Brackish Boy" is an early take of a song Frank Black re-recorded for his 1993 debut, and "Punk Loop" comes from the 1991 Trompe le Monde sessions. The piece also notes the band's upcoming South American run and spring 2027 US arena tour with Queens of the Stone Age, May 1 to 24.

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The 200 Best Rock Songs of the 21st Century

Rolling Stone's ranked list of the 200 best rock songs of the 21st century so far, framed as a rebuttal to anyone claiming rock is dying and as a companion to its "Reasons to Love Rock" feature. It deliberately spreads across pop-punk, emo, metal, indie, garage revival, Latin rock, Tuareg desert blues, country-rock, and crossover acts like OutKast, Jay-Z, Taylor Swift, and Olivia Rodrigo. Each entry is a short blurb mixing backstory and artist quotes, and the rule of mostly one song per artist is bent only for a few legends (Radiohead, Muse, Foo Fighters, the Strokes, and others). It builds to a top ten that includes the White Stripes' "Seven Nation Army," the Killers' "Mr. Brightside," and Yeah Yeah Yeahs' "Maps." The argument throughout is that rock stays healthy because it keeps mutating, so the list works as a wide-ranging survey of the era rather than a narrow canon.

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The 100 Greatest Albums of All Time

Consequence magazine released an updated version of its "100 Greatest Albums of All Time" list, 12 years after the original 2010 edition, reflecting significant shifts in musical culture, taste, and available recordings. The new list was compiled through extensive debate among staff members (only two of whom worked on the original), weighing factors like an album's impact at release, retrospective significance, influence on evolving musical trends, and the pure joy it brings to listeners. The publication acknowledges that readers will inevitably disagree with placements and omissions, but stands by the selections as a thoughtful assessment of musical greatness rather than a claim to objective truth.

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Cobain loved them, Tarantino used them... then came the drug-fuelled downfall — MOJO

The Pleasure Principle At the height of Nirvana’s ascendancy, Urge Overkill were a Kurt Cobain-endorsed, Albini-produced acrylic flash of ’70s soul-stylings and Cheap Trick rock optimism. Then heroin, gangs and guns were added to the equation. Keith Cameron looks back on their short, stylish reign. Urge Overkill (l-r): Eddie “King” Roeser, Nash Kato and Blackie Onassis, Los Angeles, 1995. IN LATE 1991, JUST AS SMELLS like teen spirit was lighting a fire under the world, Nirvana toured the US and

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Eric Burdon: the hellraiser who had it all and then lost it | Louder

Eric Burdon's career spanned from leading The Animals through their British Invasion hits in the mid-1960s to fronting the funk band War and enduring a tumultuous solo career marked by legal disputes, band feuds, and personal tragedy. The piece chronicles his immersion in 1960s counterculture—his acid use, friendships with Jimi Hendrix and Janis Joplin, and role as a cultural intermediary between British and American music scenes—while documenting how mismanagement, contractual disputes, and internal conflict fractured his various projects and left him bitter for decades. By 2013, after a back operation and creative renewal, Burdon had achieved a measure of peace with his chaotic past and recognized his luck in having witnessed and participated in the transformative moments of postwar popular music.

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