Glide Magazine

Manic Monday: Watch Beth Orton with William Orbit On “Water From a Vineleaf” (Live 1993)

Glide Magazine — Mon, 22 Jun 2026 04:36:20 +0000

This week, we’ll be looking at Beth Orton, who will be releasing a new album this Friday (6/26/26) titled The Ground Above. One of the reasons Orton’s catalog feels so unique is that she’s never stayed in one lane. She has comfortably moved between folk, trip-hop, electronica, jazz, and experimental music, often serving as a bridge between singer-songwriters and electronic producers. Her collaborations with The Chemical Brothers remain the most influential and are essential listening for anyone exploring her work, but she also worked early on with William Orbit. Before becoming a solo star, Orton collaborated extensively with Orbit, co-writing material that appeared on her early recordings, including her rare debut album, Superpinkymandy. Watch Orbit and Orton perform “Water From a Vineleaf” in 1993, with Orton getting down with some rarely seen dance moves.

From The Lumineers To Solo Distinction: Neyla Pekarek Finds Wonder in Forgotten Lives On ‘The Queen Of Magic’ (FEATURE)

Glide Magazine — Mon, 22 Jun 2026 04:07:17 +0000

For much of her career, Neyla Pekarek performed on some of the world’s biggest stages. As a member of The Lumineers, she played before tens of thousands of fans, appeared on Saturday Night Live, opened for U2, and performed at the White House during the Obama administration. Yet the Colorado-born singer-songwriter has increasingly found herself drawn not to celebrity, but to forgotten people whose stories have slipped through the cracks of history.

That fascination lies at the heart of The Queen of Magic, her newly released EP and developing stage musical inspired by Adelaide Herrmann, a pioneering magician and performer whose career unfolded during the same era as Harry Houdini. Once one of the best-known figures in stage magic, Herrmann has largely faded from public memory despite her important contributions to the art form.

Pekarek’s interest in such figures is rooted in a lifetime of curiosity. Raised in Colorado by parents who loved music and history, she grew up in modest circumstances. Her father spent 40 years as a mail carrier, while her mother was primarily a stay-at-home parent. Though neither pursued music professionally, both encouraged their daughter’s artistic interests.

“We didn’t grow up with a lot of money,” Pekarek said, “but any time we could be exposed to something culturally, whether it was concerts in the park or the symphony, my parents made that happen.”

Music filled the household. Her father, a devoted fan of Bob Dylan, The Beatles, and The Rolling Stones, shared a deep appreciation for artists who rose from humble beginnings. Pekarek studied cello, sang in choirs and barbershop quartets, and gravitated toward musical theater. Yet she describes herself as an intensely shy child.

“My high school choir teacher really helped me come out of my shell,” she said. “I felt like a really shy kid, and beyond the musical things I learned from him, he taught integrity and work ethic.”

Those qualities would prove invaluable after college. In 2010, shortly after earning a music education degree, Pekarek answered a Craigslist advertisement seeking a cello player for a fledgling folk band. The group consisted of two musicians newly arrived in Denver from New Jersey.

“I thought it would be kind of a fun adventure,” she recalled. “I was 22 years old and had not much to lose.”

That adventure became The Lumineers.

What began as DIY touring through coffee shops and living rooms soon exploded into international success. By 2012, the band had become one of the defining acts of the folk revival movement.

Pekarek still remembers performing on Saturday Night Live with host Jennifer Lawrence and feeling overwhelmed by the institution’s history. She recalls White House appearances with equal amazement.

“It felt sort of like I was outside of my body a little bit,” she said. “Like, this life is someone else’s.”

Despite the success, she spent years developing her own ideas while touring. Eventually, she left the band to pursue songwriting projects that reflected her personal interests and artistic voice.

One of those projects became Rattlesnake Kate, a musical inspired by the colorful Colorado folk figure Katherine McHale Slaughterback, who famously killed 140 rattlesnakes in 1925 and later fashioned a dress from their skins. The production premiered at the Denver Center for the Performing Arts and earned widespread acclaim.

Pekarek sees a common thread between Rattlesnake Kate and Adelaide Herrmann.

“She’s a fringe figure,” Pekarek said of Kate. “Her story was untold.”

The same could be said of Herrmann, whose life inspired The Queen of Magic.

According to Pekarek, Houdini himself reportedly remarked that anyone unfamiliar with Adelaide Herrmann knew little about the history of magic. Originally a dancer and performer, Herrmann partnered with her husband, Alexander Herrmann, one of the most celebrated magicians of the late nineteenth century. Together they helped transform magic from intimate parlor entertainment into large-scale theatrical spectacle.

“When you think of the prototype magician with the handlebar mustache, top hat, and tails, Alexander kind of invented that persona,” Pekarek explained. “But Adelaide had the idea to bring it to these grand stages with costumes and lights and music and storylines.”

After her husband’s death, Herrmann continued performing, becoming the first woman to headline her own magic shows and remaining active well into her seventies.

Reading Herrmann’s unfinished memoir, Pekarek was struck by the performer’s determination.

“She was just really ambitious and didn’t take no for an answer,” Pekarek said. “If someone was sick on a vaudeville show, she’d say, ‘Great, I’ll do the tumbling tonight. I’ve never done it before, but I’ll figure it out.'”

That resilience resonates with Pekarek, who admits she is often drawn to people living on the edges of conventional history. Her father was a history major, and she suspects some of that fascination may be hereditary.

“I find myself clinging to stories that are odd and interesting but still feel relevant through a modern lens,” she said.

Today, Pekarek is developing The Queen of Magic into a full-scale musical while presenting vaudeville-inspired performances featuring magicians, circus artists, and musicians. The project reflects not only Adelaide Herrmann’s world but Pekarek’s own evolution as an artist.

For someone who once considered herself painfully shy, she has become remarkably adept at stepping into the spotlight. Yet her real gift may be directing attention elsewhere—to remarkable women whose stories deserve another act.

In Adelaide Herrmann, as in Rattlesnake Kate before her, Pekarek has found more than a historical subject. She has found a reminder that ambition, creativity, and perseverance never truly disappear. Sometimes they simply wait for someone willing to bring them back into the light.

Brian D’Ambrosio may be reached at dambrosiobrian@hotmail.com

From Surabaya to the Mile High City: Thee Marloes Enchant Denver”s Marquis Theatre (SHOW REVIEW)

Glide Magazine — Mon, 22 Jun 2026 01:42:22 +0000

Six stops into their North American tour celebrating their new album Di Hotel Malibu out through indie powerhouse Big Crown Records, Thee Marloes break new ground by performing in Colorado for the first time in their careers. The Indonesian band took the stage of Denver’s intimate Marquis Theatre on June 17th, preceded by local talent sunstoney.

Despite sunstoney’s bassist being unable to attend, vocalist/producer Eman El Saied and drummer Stephen Pitchford (aka Scubozzy) adeptly filled in any sonic gaps with ease, playing a perfect blend of rump shakers and sad stoner anthems befitting the Mile High City. El Saied proudly proclaimed she produced every song herself, a rarity in a male-producer-dominated industry, with her claims backed up by synth work that would give Mike Dean a run for his money. More than once, she let out a vocal run reminiscent of Haitus Kaiyote’s Nai Palm, boasting beautiful range and skillful control. Pitchford backed El Saied’s crooning with fluttering cymbals and a good deal of hi-hats, breaking in for a few fiery drum solos throughout the set. Melancholy R&B hits for weed smokers, i.e. practically everyone in the crowd and virtually the whole city of Denver, dominated the front portion of (aptly named) sunstoney’s set, including “What’s It All For?” and “Stoned In The Parking Lot”, both taken from 2024’s The Mirror Is Calling EP.

Towards the back end of the set, El Saied turned things up a notch by playing what she termed a song of “joyful resistance”, which she kicked off with the ever-welcome (in Colorado at least) “Fuck ICE” chant. The following half-dozen songs were each more danceable than the last, raising the BPM and, subsequently, the heart rate of the room one energetic performance at a time. Exiting on a high note, pun intended, sunstoney and Scubozzy paved the way smoothly for Thee Marloes’ distinctly different take on blending sultry R&B and ass-moving jams.

Hailing from Surabaya, Indonesia, Thee Marloes consists of a core group of three: Natassya Sianturi on vocals and keyboards, Sinatrya Dharaka wielding guitar, and Tommy Satwick behind the drums. Two touring members joined the band on stage, one on bass and one hand-drumming, tapping triangle, shaking tambourine, and tinkling bar chimes.

The five-piece took the stage, starting off strong with upbeat funk before showcasing the first of many sleek song transitions, seamlessly gliding into a rendition of the opening track from Thee Marloes’ new album, Di Hotel Malibu, “Under the Silver Moon”. This is where Sianturi’s silky smooth vocals stole the show and melted the hearts of everyone in the crowd. She serenaded the crowd from behind her keyboard, floating her way through the new album: “Through The Changes”, next the album’s title track, then “6 Years”, which Sianturi says is her personal favorite song. A masterful and spirited hand-drumming solo gives Sianturi a rest, although she never ceases tickling away on her keyboard. The güiro is picked up for a couple of songs, adding to the myriad of ear-catching idiophones on stage.

Reaching back in their catalog, the band played a lively version of “I Know” from 2024’s Perak, also released through the ever-consistent Big Crown Records. About a dozen songs into the set, Sianturi follows up on “I’m Just A Girl” with an elegantly stirring version of “I’d Be Lost”, the peak of the night. The audience is mesmerized and stunned, but recovers in time to deliver a well-deserved standing ovation that brings Thee Marloes back onstage. Someone screams, “Midnight Hotline!” and the band readies themselves for one last number, one that sets everyone to dancing feverishly and singing along to the infectiously catchy hook: “Double-0-6-7-9, make it midnight hotline”. One last standing ovation and Thee Marloes are off to enrapture the next city.

All photos by Sam Hovsepian (IG: SamSirann)

60 Years Later, ‘Blonde on Blonde’ Remains Bob Dylan’s Defining Creative Peak

Glide Magazine — Sat, 20 Jun 2026 02:56:01 +0000

One of the hallmark releases of Bob Dylan’s career, Blonde On Blonde (released 6/20/66) is one-third of the history-defining trilogy including 1965’s Bringing It All Back Home and Highway 61 Revisited. Not only did the two companion pieces set the artistic and cultural terms for the Nobel Laureate’s career for the immediate future—and for many followers right up until today—but the LP following a year later also certified Dylan’s status as a mainstream celebrity.

By most accounts, BOB is also the first studio double LP by a major artist (released just one week before Freak Out! by the Mothers of Invention). And yet, like so many similar works issued over the years, it would carry even more impact if it were considerably condensed. In fact, with both the first and last tracks excised, the remaining cuts retain a discernible logic, with the two major songs at its center, the brisk lilt of “I Want You” and the doleful “Just Like A Woman,” anchoring that dozen.

One of the more slight compositions on the longplayer, “Rainy Day Women #12 & 35” is as cathartic in its own uproarious, Dixieland band mirth as the woeful solemnity of “Sad Eyed Lady of the Lowlands.” Seemingly much longer than its eleven-minute-plus duration because it is so monotonous, the latter evinces mere traces of the suspense and drama that permeates similarly-extended tunes from the previous pair of masterworks.

Would that this piece had been shortened or rearranged to include instrumental breaks to enhance its elegiac mood. The Band’s guitarist Robbie Robertson and keyboardist Al Kooper were both available in Nashville (at Dylan’s request), so either would be a ripe candidate for some dramatic flourishes (as would guitarist Michael Bloomfield, had he been involved as on the prior LP in prepping the musicians and formulating arrangements).

In that scenario, “Pledging My Time” functions well as an ingratiating opener, balanced at the end with the air of anticipation in “4th Time Around” (Dylan’s compositional riposte to John Lennon’s “Norwegian Wood”). The confines of abject solitude in the surreal “Visions of Johanna” make for a stark emotional contrast to the turbulence in “Stuck Inside of Mobile with the Memphis Blues Again.”

Variations on Chicago blues styles, such as “Obviously Five Believers,” belie the diversity of the accompanists who contributed to the Blonde On Blonde sessions. Players such as multi-instrumentalist Charlie McCoy and drummer par excellence Kenny Buttrey render the arrangements all with the taste and economy producer Bob Johnston was looking for when he suggested this Southern locale for recording (early sessions in New York with the Hawks, nee, the Band, had proved unproductive).

Yet it’s still fair to say that, in more than a few instances such as “Leopard-Skin Pill-Box Hat,” the compositions sound more forced than inspired, the skill of the personnel outshining the song(s) (that Bob reportedly spent hours writing in the studio while the musicians waited). The primary element of continuity throughout is Dylan’s singing, his nasally vocal delivery at its most affected (self-caricatured?) on songs like the latter.

The frenetic pace Bob Dylan was maintaining at the time of his seventh studio album came to an abrupt halt with the famous motorcycle accident in the region of Woodstock, New York. After this now-mythic event, the rustic environs became a safe haven for Dylan and his growing family, not to mention the site for his legendary work with The Band on The Basement Tapes.

In high relief against that bucolic backdrop, and with a six-decade perspective, the alternately liberating and confounding nature of Blonde On Blonde resounds as an emphatic conclusion to one of, if not the most, prolific periods of Bob’s career.

Surfing The Tube: Eddie Vedder Performs New Song At Obama Presidential Center Dedication; Fallon & McCartney Scare NBC Studios Tour Groups; Danny Clinch IDs Phish, Springsteen, The Strokes

Glide Magazine — Fri, 19 Jun 2026 15:03:18 +0000

Surfing the Tube is a daily recap of recent must-see YouTube happenings, from music videos and live performances to interviews and everyth

Pearl Jam’s Eddie Vedder performs original song with “Guitars Over Guns”

During the much talked about dedication of the Obama Presidential Center in Chicago, Pearl Jam’s Eddie Vedder teams up with youth from the Guitars Over Guns non-profit organization to perform the brand new song “Better Believe”.

Paul McCartney and Jimmy Fallon Surprise Fans in 30 Rock Elevators | Fallon Flashback

Jimmy Fallon continues to celebrate the success of Paul McCartney’s recent album The Boys of Dungeon Lane by unleashing another “Fallon Flashback”, this time of the duo surprising NBC Studios tour groups.

Testing This Legendary Music Photographer’s Music Knowledge | Track Star*

Ubiquitous music photographer Danny Clinch is the most recent guest on Track Star*, where he identifies songs by Pearl Jam, Nas, Johnny Cash, 2Pac, and more.

CAUSTIC COMMENTARY: Pond, Office Dog, Tierra Whack, Swamp Dogg, Datura4 & More

Glide Magazine — Fri, 19 Jun 2026 11:38:08 +0000

It is yet another gloriously scorching New Music Friday, and the team members down at the Old Caustic Factory are up before the first bird sings its song. Inspired by the bright red sunrise they caught this morning, our team has primed our conveyor belts and serviced their motors in preparation for yet another exhilarating week of new music. This Friday brings us rejuvenating, cross-generational jazz releases, Hip-hop that toes the line between inventive and nostalgic, and some spellbinding rock music from both the indie and psychedelic scenes. Just when you thought things were slowing down, a Friday like this arrives, and there is a playlist to escape into.

Check out Glide’s picks for the week’s best new music, and be sure to follow our Caustic Spotify playlist never to miss a fresh release.

Pond – “Personal Hell”

Terrestrials

Pond’s ever-evolving sonic palette morphs into lively yet focused, synth-drenched dance numbers on the pulsating Terrestrials. Arriving only two years after the Australian-bred band’s guitar-driven balladry of Stung!, these ten songs add a layer of bleeding psychedelia to Pond’s undeniable prowess. “Personal Hell” blends nostalgia with experimentation, as the band employs yesterday’s harmonies over a dense yet dynamic, vibrant arrangement.

Office Dog – “Permanent Day”

Prime Corner

The anticipated sophomore effort from alt-rock outfit Office Dog not only exceeded expectations, but introduced even more dimensions to the band’s colorful artistry. Prime Corner is a cathartic, electrifying listen with jangly melodies and focused riffs alike, creating a whirlwind of a sophomore effort from one of the most exciting voices in the genre. “Permanent Day” leans to the jangly side of the LP, creating a meditative listen meant to soundtrack a long walk on a cold day.

Datura4 – “On The Rebound”

High On The Low Brow

Explosive, distorted, and wholeheartedly themselves, Datura4 craft an immersive, urgent tracklist for their sixth studio effort, High On The Low Brow. Far from an attempt to mimic a bygone sound, these 9 songs find the band toying with these tropes to land on a contemporary sound that challenges norms without forced experimentation. “On The Rebound” is a firework display of stunning guitar rock, with vocals that soar alongside acrobatic riffs.

The Alchemist – “Gutter Pain” (Feat. Kool G Rap)

LIQUID FORM

Creating yet another chapter in what has now been a decades-long prolific streak, producer/Hip-hop extraordinaire The Alchemist unleashes LIQUID FORM. The 8-song project, four songs and their instrumentals, is a return to form for the producer, with dirty drums leading the charge along with features from some Hip-hop icons from multiple generations. Kool G Rap joins Alchemist on “Gutter Pain,” which puts Rap’s booming vocals over hypnotic tempos.

Swamp Dogg – “Please Don’t Bury Me”

Swamp Dogg Contemplates The Afterlife

One of the more singular and prolific players in American music over the past several decades, Swamp Dogg continues his playful nature on his latest LP while hinting at bleak imagery. Swamp Dogg Contemplates The Afterlife finds an enduring creative grappling with harsh realities and mortality, all while maintaining the charm that gave him this longevity. “Please Don’t Bury Me” is a captivating story of losing control of your legacy after passing, as Swamp Dogg delivers his message over bouncy melodies that juxtapose the songwriting.

Tierra Whack – “WIGGIDY WHACK”

WHACK’S MUSEUM

Through a collection of gritty vignettes drenched in head-spinning wordplay and cartoonish vocals, modern visionary Tierra Whack displays Hip-hop prowess that serves as both a reminder and a warning shot of the artist’s relentless creativity. WHACK’S MUSEUM is a mixtape-style release from the Philadelphia native, whose rhyme schemes paint bright, braggadocious portraits of an artist who refuses complacency. Conductor Williams crafted a hypnotic instrumental for Whack on this early favorite from the project. “WIGGIDY WHACK” is a dark preview of the magic contained on the artist’s first project in two years.

Gary Bartz & Your Brother’s Keeper – “Locris”

Where Rivers Meet

Two generations of jazz collide as one of the greatest bandleaders the genre has ever seen, saxophonist Gary Bartz, teams up with the freshly minted, Jake Long-led collective Your Brother’s Keeper on the beautifully crafted Where Rivers Meet. The seven-song LP properly introduces Your Brother’s Keeper to a burgeoning scene through the lens of a man who influenced it, with Bartz’s horns parading around sturdy ambiance and subtle electronic flair. “Locris” is one of the more grandiose tunes on the LP, with Bartz’s melodies navigating nimble percussion for a performance that enchants.

Jon Batiste – “Gospel Anadante”

Black Mozart

Continuing his efforts to bring classical music into the modern era, following 2024’s Beethoven Blues, the incomparable Jon Batiste sets his sights on the great Mozart. Black Mozart is set to be released on August 14 and feature ten piano-driven performances of some of Mozart’s finest work. “Gospel Anadante” is a moving performance that previews the gentle, detailed approach Batiste employs for his music, as he honors tradition without falling victim to it.

Sleep – “Have Spacesuit Will Travel”

Single

Doom metal innovators Sleep have announced an extensive Fall 2026 tour that will see the band traverse North America from September to November. In celebration of the upcoming trek, the band unleashes their first single since 2018, “Have Spacesuit Will Travel,” a spellbinding tune with eerie vocals wrapped in melting guitar riffs and sludgy drum patterns.

FATHERS – “Pearl”

FATHERS

The supergroup of Kenny Beats, Nate Smith, Kiefer, and CARRTOONS has officially announced itself along with its self-titled debut. This collection of modern music giants bridges scenes with rejuvenating jazzy instrumentation, and their self-titled debut is set to arrive via the illustrious Blue Note Records on July 10. “PEARLS,” our lead single, allows each member’s individuality to shine through stirring melodies and jovial undertones.

The Garden – “Eve Of Nothing”

Bootleg

Fuzzed-out garage rock duo The Garden have officially announced their latest studio effort, and there is a palpable single to go along with the news. Bootleg will span 14 songs and is set for release on July 10; “Eve Of Nothing” previews the anticipated project—distant vocals cut through warping guitar riffs and animated drums.

Chuck Strangers – “G Pack”

Glory of the King’s Hand

Producer/emcee Chuck Strangers has been focused on building his solo discography for the past few years, and the latest step is right around the corner. Glory of the King’s Hand will be released on July 10 via Lex Records. Before the anticipated project arrives, Strangers releases another single, adding coal to the furnace of excitement. “G Pack” is a slow-burning single with Strangers’ vocals stumbling around sparse drums,

Thee Sinseers – “Let’s Fall In Love (Again)”

Love Stories

As the soul world anxiously awaits the arrival of the long-awaited Thee Sinseers sophomore effort, the band reminds us of the beauty in rebuilding on “Let’s Fall In Love (Again).” The latest single from Love Stories is a captivating tune with sweetly sung harmonies and storytelling, creating yet another preview of the album. Love Stories is set for release on September 18.

case/lang/veirs – “Accidental Tattoo”

case/lang/veirs (10th Anniversary Edition)

It is hard to believe it has been a decade since Neko Case, k.d. Lang, and Laura Veirs debuted with their self-titled collaborative effort. Still, the supergroup is inviting everyone to the celebration. The 10th Anniversary Edition of their self-titled effort includes a new disc of live recordings and the beautifully crafted bonus tune “Accidental Tattoo.” The new single is simplistic poetry in motion, with a scattered arrangement that allows the vocals to flourish. The anniversary edition of case/lang/veirs is set for release on September 4.

Lily Seabird – “Election Day”

Lightspheres on Their Way

The time has finally arrived for the great Lily Seabird to follow up the deeply personal Trash Mountain LP, and the lead single hints at a fresh direction for the artist. “Election Day,” our first preview of Lightspheres on Their Way, is a distorted cacophony of unfiltered thoughts and unbelievable guitar work with jagged edges. Seabird’s new album will be released digitally on October 2, but physical copies will be available on September 4.

25 Years Later: The Shins Debut With Emotionally Vunerable ‘Oh, Inverted World’

Glide Magazine — Fri, 19 Jun 2026 06:00:00 +0000

The journey James Mercer took to arrive at the indie rock magic of Oh, Inverted World is as cinematic and enduring as the music itself. His band, The Shins, was not a collection of high school friends looking for an outlet, nor was it a preconceived grouping of musicians arranged by a suit-and-tie-wearing executive attempting to cash in on a trending yet fleeting sound. The whimsy and grace of Oh, Inverted World, though, were far from happenstance. Mercer’s debut album with the Shins has become a defining moment since its release 25 years ago, and a legacy like this is not built overnight, but through meticulous sonic calculations and unwavering dedication to lofty visions.

Just before forming The Shins, Mercer was working with a band he called Flake Music. Their short-lived yet prolific career saw the release of some singles, an EP, and an album, the typical cycle of any band from the early-90’s era of alt-rock. Flake Music specialized in a specific, straightforward brand of alt-rock, leaving Mercer’s boldest ideas on the shelves of his mind for years. Thus, the end of Flake Music arrived in concurrence with the birth of The Shins, and the indie rock world was flipped on its head. The songs on Oh, Inverted World existed long before The Shins, though. Some of the band’s influential debut record was written while Mercer was still working on Flake Music, but the 11 songs that make up Oh, Inverted World proved to be a staunch turn in a refreshing, exhilarating direction.

Before the LP was released to the world on June 19, 2001, Mercer had released its lead single, “New Slang,” an ethereal acoustic ballad that glows with lo-fi warmth and broods with hazy vocals. The tune, released months before the album, made an immediate impact and caught the attention of the illustrious Sub Pop Records. The famous label signed The Shins almost immediately, adding yet another layer of pressure on Mercer heading into the debut album. With a hit single, a fresh new band, and a brand new label to call home, the weight of Oh, Inverted World was mounting against Mercer, although a listen to these songs tells a different tale.

All of the pressure seemingly slid right off Mercer’s shoulders; at least that’s how Oh, Inverted World hits the ears. There is a jovial sense of experimentation that flows through this tracklist, giving this album its long-lasting charm. The loose melodies and cascading harmonies of “Girl On the Wing” hint at a pop prowess; “Know Your Onion!” is a vivid tale of self-reliance with palpable imagery. At the same time, highlights like the anthemic “One By One All Day” and the eerie tin of “Your Algebra” showcase just how far Mercer is willing to stretch his imagination. Oh, Inverted World is an album that, even 25 years later, sticks to the sides of your brain, and the world was enamored.

The Shins’ debut album was released to wide critical acclaim. While major outlets like NME and Pitchfork landed on strong 8s for the project, Drowned in Sound and Under the Radar gave Oh, Inverted World near-perfect scores. As of May 2023, the album has been certified platinum, garnering 1 million sales and proving the record’s staying power.

Oh, Inverted World stands as a pillar of artistic growth and the rewards of daring leaps. Mercer’s debut with The Shins may play like a contemplative walk on a lovely day, but every nuance of these songs glows with passion and trust. This is not another indie rock album to reminisce on; Oh, Inverted World launched Mercer into the stratosphere of the music industry, and continues to be an inviting, must-hear listen in the contemporary canon.

VIDEO PREMIERE: Mia Doi Todd Melds Folk Intimacy with Breezy Island Warmth on “Show Me the Way”

Glide Magazine — Fri, 19 Jun 2026 05:30:56 +0000

For nearly three decades, Mia Doi Todd has occupied a singular space in independent music, crafting songs that blur the boundaries between folk, ambient textures, Brazilian influences, and exploratory pop. The Los Angeles-based songwriter has quietly built one of the most respected catalogs in modern indie music, releasing more than a dozen albums while earning admiration as both a captivating solo artist and an in-demand collaborator.

Now, Todd has returned with Human Experience, released April 17th, via City Zen Records. The ten-song collection finds the veteran songwriter embracing life’s small moments and everyday wonders, resulting in one of her warmest and most inviting recordings to date. Rooted in family, community, and the restorative power of nature, Human Experience continues Todd’s lifelong pursuit of music that feels both intimate and expansive.

Much of the album was written amid the rhythms of daily life on Maui, where inspiration arrived between preparing meals, afternoons at the beach, and family outings. That relaxed island pace seeps into every corner of the record. Produced by Micah Nelson (Particle Kid), the youngest son of Willie Nelson, Human Experience was recorded during a week-long session at Estudio Tiny Panj in Haʿiku, Maui, in December 2025. The recording sessions brought together a close-knit ensemble featuring Todd’s longtime percussionist Andres Renteria alongside bassist Aroyn Day from Nelson’s band. The album was later mixed with Mario Caldato Jr. in Northeast Los Angeles, adding another layer of warmth and depth to its organic sound.

On Human Experience, Todd once again proves that some of the most profound observations emerge from everyday life, transforming simple moments into songs that feel timeless, luminous, and deeply human.

Today, Glide is offering an exclusive premiere of the video for the standout track “Show Me The Way,” which finds Todd operating in the sweet spot that has defined much of her career—melding spiritual inquiry, folk intimacy, and breezy West Coast warmth into something quietly transcendent. Carried by her feather-light vocals and a gently unfolding arrangement, the song drifts with an effortless grace, balancing earthy reflection with cosmic wonder. This luminous, open-hearted journey feels both deeply personal and universally resonant, inviting listeners to slow down, listen closely, and follow its subtle current toward something brighter. Created by Alex and Micah Nelson, the video is a delightful romp around Maui’s jungly north shore. The end result is a tune that feels infectious and uplifting.

WATCH:

Sleep Release New Single “Have Spacesuit Will Travel” & Announce North American Tour

Glide Magazine — Thu, 18 Jun 2026 14:51:12 +0000

Sleep have returned with hte new single “Have Spacesuit Will Travel” via Third Man Records, their first new music since 2018. In addition, the band announces a fall North American tour, as well as releases the first issue of the Sleep Comic Book, written by bassist and songwriter Al Cisneros.

“Have Spacesuit Will Travel” begins Sleep’s first mission without Matt Pike on guitar. The music and art are alive and after the decades of obstacles that Sleep has overcome, it is time to move forward and make songs and albums. Al wishes Matt the best on his earth bound maneuvers.

Alongside Cisneros, this latest incarnation of Sleep features Dale Crover on drums and Bubba Dupree on guitar. Crover’s résumé speaks for itself, with pivotal roles in bands like the Melvins and Redd Kross. Al Cisneros tapping him for the drum throne feels almost inevitable—a natural choice that

The band’s tour will begin Tue. September 8th in San Diego, and includes a headline performance at Levitation Festival in Austin, as well as multiple nights in Seattle and San Francisco, before heading over to the Midwest & East Coast in November. Artist Presale begins Tue. June 23rd at 10am local time in all markets, fans can register here. Public on-sale begins Thu. June 25th at 10AM local time in all markets.

Sleep Tour Dates
Tue. Sept. 8 – San Diego, CA @ The Observatory North Park
Wed. Sept. 9 – Phoenix, AZ @ The Van Buren
Thu. Sept. 10 – Albuquerque, NM @ Revel
Sat. Sept. 12 – Dallas, TX @ Granada Theater
Sun. Sept. 13 – Austin, TX @ Levitation
Mon. Sept. 14 – Oklahoma City, OK @ Tower Theatre
Wed. Sept. 16 – Denver, CO @ Ogden Theatre
Thu. Sept. 17 – Salt Lake City, UT @ The Grand At The Complex
Fri. Sept. 18 – Boise, ID @ Treefort Music Hall
Sun. Sept. 20 – Vancouver, BC @ Commodore Ballroom
Mon. Sept. 21 – Seattle, WA @ Neptune Theatre
Tue. Sept. 22 – Seattle, WA @ Neptune Theatre
Wed. Sept. 23 – Portland, OR @ Roseland Theater
Fri. Sept. 25 – San Francisco, CA @ The Fillmore
Sat. Sept. 26 – San Francisco, CA @ The Fillmore
Sun. Sept. 27 – Santa Cruz, CA @ The Catalyst
Mon. Sept. 28 – Los Angeles, CA @ The Wiltern
Tue. Sept. 29 – Santa Ana, CA @ The Observatory
Wed. Nov. 4 – Minneapolis, MN @ First Avenue
Thu. Nov. 5 – Milwaukee, WI @ Pabst Theater
Fri. Nov. 6. – Chicago, IL @ Riviera Theatre
Sat. Nov. 7 – Detroit, MI @ St. Andrew’s Hall
Mon. Nov. 9 – Toronto, ON @ Phoenix Concert Theatre
Tue. Nov. 10 – Montreal, QC @ Club Soda
Wed. Nov. 11 – South Burlington, VT @ Higher Ground Ballroom
Thu. Nov. 12 – Boston, MA @ Roadrunner
Fri. Nov. 13 – Hudson, NY @ Basilica Hudson
Sun. Nov. 15 – Philadelphia, PA @ Theatre of Living Arts
Mon. Nov. 16 – Brooklyn, NY @ Brooklyn Paramount
Tue. Nov. 17 – Washington, DC @ Lincoln Theatremakes perfect sense to anyone familiar with his power, versatility, and underground pedigree.

Surfing The Tube: Kim Gordon Celebrates PLAY ME; 8Ball & MJG Take NPR Tiny Desk Back To The 90s

Glide Magazine — Thu, 18 Jun 2026 14:45:08 +0000

Kim Gordon: PLAY ME | The Tonight Show Starring Jimmy Fallon

The Sonic Youth mastermind Kim Gordon plays the title track from her March album PLAY ME live on The Tonight Show Starring Jimmy Fallon.

8Ball & MJG: Tiny Desk Concert

Renowned Memphis duo 8Ball & MJG take the NPR Tiny Desk stage to perform a slew of their hits from the 90s and early 2000s, backed by a live band.

Niall Horan – Desperado ft. BBC Concert Orchestra | Radio 2 Piano Room

On the heels of releasing his new LP Dinner Party, Niall Horan teams up with the BBC Concert Orchestra for a rendition of Eagles’ 1973 megahit “Desperado”.

Isaiah Rashad “DO I LOOK HIGH?” Official Lyrics & Meaning | Genius Verified

Fresh from the release of his newest album IT’S BEEN AWFUL, Isaiah Reshad breaks down the meaning of the lyrics from the Julian Sintonia-featuring track “DO I LOOK HIGH?”.

Buju Banton | A COLORS SHOW

Continuing the rollout of his upcoming album Too Too Bad, slated for release on July 17th, Buju Banton appears on A COLORS SHOW to perform the brand new song “House Call”.