Massive Attack are the latest headliner to join the bill at this year’s All Points East. The pioneering British band will conclude the opening weekend on Sunday 24th May. The group will be joined on the bill by German producer and composer Nils Frahm, Scottish trio Young Fathers and iconic singer Neneh Cherry. Other artists performing on the day include Sevdaliza, Skinny Pelembe, Hotel Lux and Mad Professor, with many more to be announced over the next few months. Eligible American Express® Cardmembers can take advantage of priority booking from 10am today until 9.30am on Friday 31st January. Visit here to book. General ticket go on sale on Friday 31st January from 10am. Other headliners announced so far for this year’s festival include Tame Impala and Kraftwerk. Head here for the full bill and ticket details.

Scarypoolparty (Alejandro Aranda) is known for his spectral arrangements and unique approach to rock. With his next release, Doom Hologram, making its debut Sept. 4, Aranda shares his ideas behind each track on the forthcoming concept EP. After being awarded runner-up on American Idol in 2019, Aranda released his debut LP, Exit Form, last November. The singer recently shared his latest single off Doom Hologram with “Return2Sender,” a gentle ballad that sets the tone for the rest of the album. Drawing inspiration from acts such as Deftones, he puts his own otherworldly twist on prog and nü metal...

Thom Yorke fans are going to have to wait a little longer to see him perform live. The Radiohead frontman announced on Thursday (Sept. 3) that the U.S. leg of his Tomorrow’s Modern Boxes tour, previously rescheduled to the fall due to the COVID-19 pandemic, has now been postponed until new dates can be scheduled...

Peel is the musical partnership of Sean Cimino and Isom Innis; both multi-instrumentalists, as well as a visual artist and producer respectively. The project was born from a month-long recording session between the two artists within Innis’s concrete loft, above the Orpheum Theatre in downtown Los Angeles. Naturally, the cavernous space served as an industrial incubator for musical experimentation: where fleets of sewing machines once reverberated in the 1930s with metallic rhythms, now echoed the sounds of drums, amps, and modular synthesizers. From the very beginning, a creative process was developed. Cimino would loop guitar and synths while Innis introduced drums and additional synthetic textures: “It was important for us to play everything without edits, limiting ourselves to a few selected elements. We are obsessed with records like Second Edition [Public Image Ltd.] and The Pleasure Principle [Gary Numan]; records where spirit and improvisation guided expression. We wanted to create a ‘wall-of-sound’ between the two of us...” says Innis.

Muse’s fourth album is one of the year’s most overblown records, mixing together huge, doomy soundscapes, snarling guitars and space-age sound effects with Matthew Bellamy’s operatic wail and lyrics about stuff like death, injustice and “superstars sucked into the supermassive.” This isn’t so surprising coming from these sub-Radiohead gloomsters; what’s surprising is that most of the time, Black Holes and Revelations actually works. There’s room...