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Alternative & Indie - To be released April 29, 2022 | Infectious Music

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Rock - Released November 5, 2021 | Infectious Music

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Alternative & Indie - Released November 3, 2021 | Infectious Music

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Alternative & Indie - Released October 22, 2021 | Infectious Music

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Alternative & Indie - Released September 22, 2021 | Infectious Music

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Alternative & Indie - Released August 20, 2021 | Infectious Music

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Rock - Released August 6, 2021 | Infectious Music

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Alternative & Indie - Released July 23, 2021 | Infectious Music

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Alternative & Indie - Released June 18, 2021 | Infectious Music

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Alternative & Indie - Released June 11, 2021 | Infectious Music

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Although they might not be the first '90s band to come to mind, it's hard to overstate Garbage's long-lasting influence on "pop" music—you can hear the industrial yet accessible dance-floor rhythms in the songs of Lady Gaga, while Billie Eilish's darker twists and turns echo those of singer Shirley Manson. For the band's seventh album, released a quarter-century after they broke through, Garbage's formula isn't so different, but they've revitalized it with lyrics that fit a shaken-up world that feels like it's rapidly changing and also not fast enough. "It was our way of trying to make sense of how fucking nuts the world is and the astounding chaos we find ourselves in," Manson has said—noting that the lyrics are critiques of racism, sexism, misogyny and capitalism. She comes out guns blazing on the industrial ass-shaker of an opener, "The Men Who Rule the World": "The men who rule the world/ Have made a fucking mess/ The history of power/ The worship of success." Her past experience of being rejected as a solo artist by her record label—for being too noir—drives the high-speed chase sounds of "The Creeps" ("They were selling me cheap out there on the street … they got a gun against my head"). "Waiting for God," inspired by the Black Lives Matter and #MeToo movements," is haunting and almost dirge-like as Manson explores the futility of hopes and prayers to deal with man's evil. Elsewhere, the ballad "Uncomfortably Me" snakes like '80s goth pop, "Anonymous XXX" slinks with a Latinx flair of driving drums and drunken horns sounds, and Manson's heaving whisper ("If I had a dick would you blow it?") prowls around a Depeche Mode-like dance-floor groove. But it's not all doom and gloom. "Flipping the Bird," as you would expect, is a lyrical kiss-off to people who pigeonhole, but it is as poppy-sounding as old hits like "Only Happy When It Rains." "This City Will Kill You" (a warning to not be lulled into danger by glamour) indulges in a Roxy Music lushness. And the title track isn't just upbeat—it's hopeful. It was inspired by a trip she took to Santiago, Chile, witnessing protests against corruption and inequality. As she sings: "Be kind, beware/ Be good, don't be scared/ Nothing lasts and no one stays/ The same forever so accept the change." © Shelly Ridenour/Qobuz
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Pop - Released June 4, 2021 | Infectious Music

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Alternative & Indie - Released May 19, 2021 | Infectious Music

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Pop - Released May 14, 2021 | Infectious Music

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Alternative & Indie - Released April 28, 2021 | Infectious Music

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Pop - Released April 9, 2021 | Infectious Music

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Alternative & Indie - Released March 30, 2021 | Infectious Music

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Rock - Released March 26, 2021 | Infectious Music

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Pop - Released March 12, 2021 | Infectious Music

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Alternative & Indie - Released March 5, 2021 | Infectious Music

Nothing says bittersweet like a live album released during a pandemic. On March 6th 2020, just before coronavirus put the whole world on pause, the Aussies played to a crowd that filled Brixton Academy’s cavernous space wall to wall. Almost exactly one year later, on March 5th, the rock band released Live in Brixton to a world of shut entrance halls and empty dancefloors. The live performance is brimming with the kind of warmth and energy that really really makes you wish you’d been there. The magic stems from those special moments of erupting unity when the audience belt out every word in chorus with the DMAs. The three-man band (Tommy O’Dell on vocals, Matt Mason on lead guitar and Johnny Took on backing guitar) turn into a six-piece on stage to allow for more musically-adventurous tracks like Life Is a Game of Changing. Though it’s much more than six people contributing here. From fan favourites Silver, The End and Tape Deck Sick to quieter emotive ballads like Step Up The Morphine - not forgetting the album’s highlight, Delete – the audience injects the atmosphere with what can only be described as… dare we say it… togetherness. This admiration isn’t a one-way street, mind. The DMA’s appreciation for their followers becomes poignantly evident on In The Air, a swaying get-your-lighters-out track which the band dedicate to the late Lesley Harris, the wife of a man who runs their Facebook fan group ‘DMANIA’. This show was soon hailed as one of their best ever, and it’s easy to see why. Now tinged with nostalgia for the good old days of normality, this recording is a reminder of the life-affirming joyfulness that live music brings. © Abi Church/Qobuz
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Alternative & Indie - Released March 5, 2021 | Infectious Music