The Album of Record

Turnstile Takes Home Grammys

Craig Lyndall — Fri, 06 Feb 2026 19:00:43 GMT

Turnstile’s Big Night: Hardcore Takes the Grammy Stage

The 2026 Grammys will be remembered as the night a “tiny little hardcore band out of Baltimore” officially took over the world. In our latest episode of The Album of Record, we broke down Turnstile’s massive wins for Best Metal Performance (for “Birds”) and Best Rock Album (for Never Enough).

For long-time fans, seeing Turnstile on that stage felt like a cultural shift. Andrew noted the significance of their journey, saying, “To see where they’ve gone has just been such a joy for me to follow... I was talking about it all the way back when Time and Space came out. I was like, ‘this band’s got potential to get big’.”

The “Hardcore” Debate

While some gatekeepers might argue that Turnstile has moved away from their roots, we aren’t buying it. Even with the “production magic” and experimental textures on Never Enough, the heart of the band remains the same.

“I can listen to anybody who wants to argue that Never Enough is not a hardcore album. I can accept that argument... but the elements of what hardcore is are everywhere in this band,” Andrew argued. Craig was even more direct about the band’s growth: “They’re translating a very worthy art form to a wider audience that might not listen to it... if this makes the next hardcore band that would have only had 500 fans have 10,000 fans and be able to make a living, then I’m cool with it.”

Why It Matters

Whether it was “Birds” beating out heavy hitters like Sleep Token and Spirit Box, or Never Enough taking the Best Rock Album title over legends like Deftones, the message was clear. Turnstile isn’t just a “crossover” act; they are, as Andrew put it, “the most important band in rock music today.”

As Craig summed it up, “I’m tired of giving space for people to just be a-holes... you can be wrong and say ‘I don’t like it personally,’ but if you’re trying to keep other people from enjoying it, I’m done giving oxygen to stuff like that.”

Turnstile has kicked the doors down, and we can’t wait to see who follows them through.

A Complete Unknown, and Deliver Me From Nowhere

Craig Lyndall — Tue, 27 Jan 2026 15:19:14 GMT

On a Sunday Snowday this past week, I called to my wife across the first floor. “Wanna watch that Springsteen movie?” She did, and after five minutes, I loaded it up. Instantly, I was taken by the scenery and how it brought us back in time. However, pretty quickly, I realized this was Timothee Chalamet, playing Bob Dylan, not Jeremy Allen White playing Springsteen. I’m turning 47 next month. These things happen. I can’t remember what’s on each streaming service, and I've mixed up the titles of two different music biopics in my head. 1

So, we watched the story of Bob Dylan, even if we’re not that big a fans of Bob Dylan. Obviously, the respect is there, but having seen him live recently in Akron with my friend Jon, I was simply happy to say I have seen Bob Dylan live. The performance was a bit of a mess, but I am not the first one to tell that story. It’s Dylan, though. And the film gave me even more context on the artist and his life than I could ever get any other way. I did some homework after watching the film to see how accurate it was, especially after being burned by continuity errors in the Freddie Mercury biopic, but it seems the Dylan film is mostly accurate. They take some liberties with the timing of his being called “Judas” by an audience member and a few other little things, but mostly, the reports are that the film is pretty faithful.

What did I end up feeling after watching the movie and its portrayal of Dylan? I’m not sure if they did it on purpose or simply left it open to interpretation, but Dylan didn’t come off like the hero. He comes off as problematic, maybe even the asshole of the film, even if his decision to “go electric” was more than defensible in hindsight. As wise people have told me before, it’s not good enough to be right. It didn’t feel like they went out of their way to present a redemption arc from Dylan figuratively spitting in the faces of friends, lovers, and business partners.

Which brings us to Deliver Me From Nowhere. I’m more of a Springsteen fan than a Dylan fan, but I’m not much of a Bruce fan either. Like Unknown, Deliver Me From Nowhere presents the artist at an inflection point. It tells the story of Bruce eschewing pop hits and bombastic stadium rock for an important artistic statement, “Nebraska.”

Like Dylan, Springsteen alienated important people in his life, from women and bandmates to the establishment at the record labels. Unlike the Dylan film, they may have used some fictional license to allow him to have a resurrection arc with his girlfriend, “Faye,” who is a fictional representation of all the women in Bruce’s life during this period.

I thought Deliver Me was a better film overall, but I’m happy I watched them both. I felt like both gave me a perspective on the artists that I just couldn’t get any other way, because it all happened either when I was very young or before I was born. I’ll revisit “Nebraska” this week just to see how those songs find me with some fresh perspective, but I don’t think these films will make me a big fan of either artist.

As films though, they were both worthwhile. I should have known better than to listen to the critics when the fan consensus on Springsteen was 20 points better on Rotten Tomatoes. The Dylan film was more than 10 points better, fans over critics. In the end, I really thought both films were effective and enjoyable watches. Great performances were all over the place in these films.

And so you don’t mess it up the way I did, the Springsteen film is on Disney+. The Dylan film is on Hulu, which is probably part of Disney+?

Whatever.

As I found out, you can confuse them if you’re moving too quickly on a snow day, and they’re both good.

BTW, do you pronounce biopic like BIOpic or biOPic? I don’t think there’s a wrong answer. Which also means there isn’t a right answer?

Pitchfork Gets a Paywall

Craig Lyndall — Sat, 24 Jan 2026 17:00:22 GMT

Summary

In this episode, Craig and Andrew discuss their experiences with winter weather, the loss of their favorite podcast IndieCast, and their current podcast listening habits. They dive deep into Zach Bryan’s new album, exploring its songwriting, sound, and artistic choices. The conversation shifts to the state of music criticism, particularly focusing on Pitchfork’s new subscription model and its implications for music consumption. They also discuss the challenges of navigating the current landscape of music reviews and recommendations, concluding with thoughts on upcoming releases and their personal music recommendations.

Our Top Ten Records of 2025

Craig Lyndall — Fri, 19 Dec 2025 14:04:35 GMT

Summary

In this episode of the Album of Record podcast, hosts Craig Lyndall and Andrew Schnitkey dive into their top 10 music albums of 2025. They discuss the challenges of ranking their favorite albums, share insights on various artists, and reflect on the emotional impact of the music. The conversation also touches on the current state of the emo genre and the significance of certain albums in defining the year in music.

Foxing Farewell Show in Chicago - Night Two

Craig Lyndall — Fri, 05 Dec 2025 15:04:33 GMT

If the first night of Foxing’s four-show run to hiatus was a bit heavy, the second was a much lighter celebration. Rather than dwell on the sadness of needing a break, Foxing entered in the most light-hearted, tongue-in-cheek fashion imaginable. You can’t get much better than playing “My Heart Will Go On” by Celine Dion, in full, and entering the stage when the key change occurs. Conor Murphy joyously walked to the front of the stage and pumped up the crowd to get things headed in the right direction early. The music followed suit.

On night one, Foxing began the show with the first three tracks from their debut record, The Albatross. Night two, they began with their most recent record, 2024’s Foxing. “Secret History,” into “Spit,” into “Hell 99” to absolutely disintegrate any idea that we weren’t going to have a hell of a night. They followed that up with “Go Down Together.”

By the end of the night, they played six from their newest record, four from Draw Down the Moon, four from Nearer My God, and four from The Albatross. Dealer only got one small nod with “Night Channels.” The power of the night was the new stuff, most notably a rendition of “At Least We Found the Floor” to kick off the encore.

Rather than the entire band coming on stage, it was just Conor and Eric. Conor told a story about how difficult it is to be in a band, about compromising and letting people change your art. He talked about how difficult it is to deal with that, thinking about all those compromises each time you play these songs, recalling all the battles to make Foxing songs. And then he said that’s why he was so grateful that when he brought the demo for “At Least We Found the Floor” to Eric, rather than take it and change it, Eric told Conor they should keep his pandemic-era demo from his basement as-is.

Conor thanked him for being so selfless and said, “I appreciate that so much, Eric. I love you.” It was by far the most beautiful moment of the entire night. The song was incredible in its new rendition, with Eric playing complementary, atmospheric guitar parts.

But just to make sure the lighter tone of the night was maintained, while the rest of the band took the stage to finish the encore with “Rory,” and “Nearer My God,” Eric had one last word, and I have to paraphrase because I don’t remember the exact wording. “One of my toxic traits is that I am really bad at taking compliments, so it was really hard to take one in front of all these people.” Conor replied to the audience, “I’ve known Eric for over 20 years. I knew that would make him uncomfortable. That’s on me,” to the laughter of the audience.

The night ended with the band shaking hands and waving to the front rows of Thalia Hall. Today, they are headed to their hometown of St. Louis for the last two shows before the hiatus begins. How long will it last? Nobody knows, but if the love on the stage and their exact words about how this truly is just a break are to be believed, then this won’t be the last we see of Foxing.

I recorded the first part of the encore with Conor talking to Eric. It was one of the sweetest moments I’ve ever witnessed at a concert in my life. At 46 years old, I’ve seen an awful lot.

Apologies for my cropping. I just wanted to get this out there.

Foxing Farewell Show at Thalia Hall

Craig Lyndall — Thu, 04 Dec 2025 16:14:04 GMT

Foxing was ambling around the stage setting up their instruments in an expansive Thalia Hall on Wednesday night in Chicago. It wasn’t dissimilar to the other times I’ve seen Foxing in smaller clubs like The Grog Shop in Cleveland. As a fan, you see them well before their performance, but you’re holding your excitement for their actual emergence to the stage. You suspend disbelief that you haven’t already seen the band when they disappear for a few minutes before the lights go down for real and they take the stage to play their set. It’s emblematic of exactly where Foxing are in their career as they play their final shows before an indefinite hiatus.

Foxing is a successful band by almost any measure, certainly artistically. The material and the passionate fanbase speak for themselves, but they are seemingly not big enough to remove the stress and exhaustion of carrying on two lives. Or maybe that’s not it at all. Foxing has spoken a lot about their hiatus, but there’s no silver bullet that tells us exactly why after one of their bigger opening slots on a national tour with Coheed and Cambria and Taking Back Sunday, that this is the moment to take a break.

Generally speaking, we know how the industry works. Bigger bands get to write music, tour, and then go home to start the artistic process all over again. Smaller bands have to grind away at day jobs that allow them to be citizens while they burn the other end of the candle trying to create their best art. Foxing got big enough to sell out four shows, creating an indefinite scarcity, but maybe not big enough for their natural, everyday scarcity to allow them to live comfortably as full-time artists. Or again, maybe that’s not it at all and the creation of their latest record just burned out all the fuel for now.

But we were here for the show and maybe to get some clues.

When the lights went down, it wasn’t the ovation I expected; instead, it built throughout an emotional night. They opened the night like they opened The Albatross with “Bloodhound,” “The Inuit,” and “The Medic.” The crowd couldn’t have been more receptive to a callback to the 10th anniversary tour of The Albatross that Foxing did as a co-headliner with The Hotelier.

“Slapstick” broke up the streak before Foxing gave a nod to Dealer with “Glass Coughs” and “Eiffel.” It was an emotional high for the show, and then things started to feel more like a celebration, because “Grand Paradise” will have that effect. I maintain that “Grand Paradise” is one of the greatest set opening songs I’ve ever seen. The first three times I saw Foxing, they opened their sets that way, every time as an opener for Manchester Orchestra. It’s a song that puts an electricity into the room. The crowd at Thalia Hall was into the show from the very beginning, but it got just a little bit more as a friendly mosh pit opened and some crowd surfers started to get passed to the front.

The rest of the show had more of a celebratory vibe as the band and the audience once again suspended disbelief that this was one of the last times we’d all be together, at least for a very long while. The band honestly didn’t sound like they would be away forever, but we’re all left to wonder what that means. Does that mean occasional reunion shows with no new material? Could we get smaller, more manageable chunks of artistic output in the way of EPs and small tours?

Judging by the number of cameras in the hall on Wednesday night, it seems pretty likely that we’ll at least get one last live album and concert video out of the band. So, if you couldn’t travel or don’t live in Chicago or St. Louis, you’re probably going to get a chance to experience these moments in some format in the future.

In the end, Foxing spoke generously about their love for each other, their gratitude for their fans, and just how exhausted they are as a band. I don’t want you to think it wasn’t an incredible and joyous night of music, because it was. But considering the context, you can’t help but focus on Conor Murphy talking to the audience about the final track from their latest record, “Cry Baby.” As the band emerged from backstage to play an encore, he seemed to straddle the line between seriousness and joke when he said, “Well, this is unexpected.” He got very serious after, speaking directly of “Cry Baby.” He said that the song isn’t “the reason” for the hiatus, but it’s emblematic of how exhausted they were as a band. It was a gorgeous rendition, but the words smacked in ways they never have.

If I could I’d start over again
It’s been fun but I’d change everything
But there’s you smiling when I come home
Yeah there’s you on the other side of the phone
So now I
I shut it down and lock it up

Full Setlist:
Bloodhound
Inuit
The Medic
The Magdalene
Slapstick
Glass Coughs
Eiffel
Grand Paradise
Gameshark
Draw Down the Moon
Lich Prince
Won’t Drown
Hell 99
Trapped in Dillard’s (Live debut)
Beacons
Greyhound
Hall of Frozen Heads

Encore:

Cry Baby
Rory
Nearer My God

Stereogum Relaunch, Rock Hall Inductions, Grammy Noms

Craig Lyndall — Fri, 14 Nov 2025 16:45:47 GMT

Summary

In this episode, Craig and Andrew discuss seasonal affective disorder, the latest music industry news, and the recent Rock and Roll Hall of Fame induction ceremony. They delve into the Grammy nominations, highlighting Turnstile’s historic nominations and the eclectic nature of the categories. The conversation shifts to Stereogum’s relaunch and the impact of AI on ad revenue, emphasizing the challenges faced by independent music publications. The episode concludes with reflections on the importance of supporting music journalism.

Radiohead is Back!

Craig Lyndall — Tue, 11 Nov 2025 21:10:29 GMT

Summary

In this episode of the Album of Record podcast, hosts Craig and Andrew discuss their excitement for upcoming concerts, new music releases, and the return of iconic bands like Radiohead. They delve into the impact of singles and album previews, as well as controversies surrounding artists’ decisions to alter their music. The conversation also touches on cultural phenomena in music, the evolution of music consumption, and the differences between British and American rock. They reflect on influential bands and look ahead to future releases, wrapping up with thoughts on the music landscape.

Saying Goodbye to Foxing and Ranking All Their Albums

Craig Lyndall — Fri, 26 Sep 2025 15:03:20 GMT

Summary

In this episode, Craig and Andrew discuss their experiences at recent concerts, including Turnstile and Greet Death, while reflecting on the indefinite hiatus of the band Foxing. They explore the emotional impact of Foxing’s music, the diversity of concert audiences, and the significance of live performances. The conversation also delves into the ranking of Foxing’s discography, highlighting the unique qualities of each album and the personal connections listeners have with their music. Ultimately, the episode captures the bittersweet nature of music fandom and the importance of supporting artists in their journeys.

Deftones Live in Cleveland plus Saturdays at Your Place Album Review

Craig Lyndall — Fri, 19 Sep 2025 19:01:14 GMT

Summary

In this episode, Craig and Andrew reflect on their recent concert experiences, particularly focusing on the Deftones and Idles performances. They discuss the impact of live music, the dynamics of concert crowds, and the evolution of bands over time. The conversation also touches on gaming, particularly the new Borderlands 4, and concludes with a review of the new album by Saturdays at Your Place, highlighting its emotional depth and musicality.

Deftones Pre-Show Podcast

Craig Lyndall — Fri, 12 Sep 2025 21:01:33 GMT

Summary

In this episode of the Album of Record podcast, Craig and Andrew discuss their in-person podcasting experience while anticipating a Deftones concert. They reflect on the evolution of Deftones' sound, their new album, and the expectations for the concert setlist. The conversation also touches on the legacy of new metal bands, personal connections to music, nostalgia for the 90s music scene, and the impact of streaming services like Spotify on music quality. They conclude with a discussion about Turnstile's recent Tiny Desk performance.

Chapters

00:00 In-Person Podcasting Experience

02:43 Anticipation for Deftones Concert

05:39 Evolution of Deftones' Sound

08:37 Discussion on New Album and Music Trends

11:23 Setlist Expectations and Concert Dynamics

14:04 Reflections on Music's Impact and Nostalgia

17:13 Comparative Analysis of Bands and Genres

19:47 Streaming Services and Music Quality

23:00 Final Thoughts and Concert Experience

Who’s Still Filling Arenas? Deftones and the Rare Company of Rock Bands in 2025

Craig Lyndall — Thu, 04 Sep 2025 21:36:24 GMT

Intro / Summary

Deftones’ Private Music dropped into a world where the band is somehow more popular than ever, packing NBA-sized arenas on new material. That got us thinking: how many post-grunge and alt-rock bands from the ’90s and 2000s can still pull that off? The list is surprisingly short. Plenty of legacy acts headline festivals, but actually moving enough tickets to fill a basketball arena is another story.

Andrew’s Take

It’s surreal to see how big Deftones have become. A decade ago, if you told me they’d be filling NBA arenas in 2025, I wouldn’t have believed it. Yet here we are. What’s cool is that half the fans are there for the early albums like Adrenaline and Around the Fur, while the other half came aboard during Diamond Eyes and Koi No Yokan. Fathers and sons at the same show, each with their own entry point. That’s rare.

When we tried to list other post-grunge bands still doing arenas, the list got thin fast. Blink-182 and Green Day, sure. My Chemical Romance is playing reunion shows in stadiums. Queens of the Stone Age probably can. Nine Inch Nails, Foo Fighters. But then you start asking: can Bush? Incubus? Korn? Some of those bands hover in that “minor league hockey arena” tier or lower. Korn might make it work on nostalgia or a package tour, but they’re not consistently selling basketball arenas on their own. Deftones are. And that’s a huge distinction.

Craig’s Take

The wild thing to me is that Deftones are doing it on new material. They’re not just coasting on nostalgia. Yes, they play “Change” and “Be Quiet and Drive,” but their setlists also feature Ohms and Private Music cuts. Compare that to Weezer, who put on incredible festival sets but aren’t culturally relevant in the same way right now.

It reminds me of seeing Rusted Root in an arena back in the ’90s. They had a moment, but it vanished. To even get there for a minute is remarkable. Deftones are thirty years in, and not only are they still there, they might be peaking. There just aren’t many bands you can say that about. They’ve carved out a lane where they’re respected across generations and still creatively thriving. That’s special.

Album Review: The World Is a Beautiful Place & I Am No Longer Afraid to Die – Dreams of Being Dust

Craig Lyndall — Wed, 03 Sep 2025 21:25:19 GMT

Intro / Summary

This review is a summary from our podcast transcript. For the full conversation, you should check out the episode linked below.

The World Is a Beautiful Place & I Am No Longer Afraid to Die, or “The World Is” for short, came roaring back this year with Dreams of Being Dust. This band emerged in the 2010s emo revival scene, drawing on post-rock atmospherics and expansive, experimental songwriting. Over time, they’ve evolved into something heavier and more urgent. Dreams of Being Dust is a striking, sometimes caustic record that feels like both a reinvention and a natural continuation of where they’ve been headed. For a band so many years into their career, it’s impressive to hear them sounding this vital and this fearless.

Andrew’s Take

From the first listen, I felt the same way about this album as I did with The Armed’s latest. It’s a raw commentary on modern existence. You can feel the urgency in every lyric, every scream, every sung line. The Pitchfork review claimed it lacked emotional depth, but I couldn’t disagree more. To me, this thing drips with urgency. It’s not just the guest vocalists screaming. Primary singers Katie Dvorak and David Bello’s clean parts cut through with cutting beauty.

Dreams of being Dust is not just about aggression. “Oubliétte” and the closer “For Those Who Will Outlive Us” prove they can still stretch into gorgeous post-rock soundscapes. I love that this band doesn’t play tourist in heavier genres. They dive in fully and make it their own. This record will be high on my year-end list.

Craig’s Take

I’ve been a fan since Illusory Walls, which was a big entry point for me. That album had such polish and ambition, and it felt like a band finding a new gear. Dreams of Being Dust picks up that thread but leans way heavier. When Katie screams on “Beware the Centrists,” it floored me. I don’t think she’d ever screamed on record before. That kind of risk makes this feel like true art, not just a band cranking out another album.

The sequencing is brilliant. “Beware the Centrists” is straight-up hardcore, the heaviest I’ve ever heard from them, and it flows right into “Oubliétte,” which is stunningly beautiful. That transition might be my favorite moment on the album. I love “Oubliétte” for its Beatles-like pacing, and “Auguries of Guilt” might secretly be my favorite, because it feels like a callback to Illusory Walls. I’ll admit I stumbled a bit on “December 4th, 2024,” not because it’s a bad song but because the title references the murder of the UnitedHealth CEO. I don’t think the band glorifies murder, but it’s provocative enough that it made me pause. Still, in context, it fits with the album’s willingness to stare at uncomfortable truths. Overall, I think this is their Foxing moment. Dreams is a bold reinvention that could alienate some fans but makes the band more themselves than ever. I love it.

Review: Private Music by Deftones

Craig Lyndall — Tue, 02 Sep 2025 21:16:31 GMT

Intro / Summary

On the latest episode of the podcast, we went in depth on the new Deftones record. This review was summarized from the podcast transcript. You should definitely listen to the episode to get a true flavor for the discussion.

Deftones are thirty years into their career, and somehow they’re bigger now than they’ve ever been. Private Music, released in early 2025, is the latest proof that this band has found a rare second life. They’re still playing NBA arenas, still winning over new generations, and still putting out records that feel vital. This one isn’t about obvious singles like “Change (In the House of Flies)” or “Be Quiet and Drive.” Instead, Private Music is a full-album experience. It’s moody, heavy, melodic, and best enjoyed from start to finish.

Andrew’s Take

For me, Private Music is an upper-echelon Deftones record. I’m not putting it up there with Adrenaline or the self-titled, but I’d slot it right alongside Diamond Eyes and Saturday Night Wrist. It flows beautifully, the kind of album you can live inside from beginning to end. Standouts for me are “Infinite Source,” “Ecdysis,” and “Departing the Body.” That last one is a perfect closer, and the opening vocal part shocked me because I didn’t even realize it was Chino. Supposedly, he tracked it quietly at home because his family was in the house, and the producer decided to keep it.

The biggest surprise is just how good Chino sounds now. He’s objectively a better singer than he was in the ’90s, which almost never happens with aging rock vocalists. Sobriety seems to suit him, and you can tell he’s more connected to the music than ever. I love that they’ve become an “album band” in this stage of their career. It’s less about singles and more about cohesive statements, and Private Music nails that lane.

Craig’s Take

I like Private Music a lot. It sounds like Deftones in all the best ways, and it just feels good to have this record in my life. But I’m with Andrew, this is a great Deftones record. I don’t know that there are any obvious setlist staples here yet. A song like “I Think About You All the Time” stands out to me because it’s softer and more melodic, but it’s not going to get a crowd moving. That said, these songs will blend into their live show and probably find their place that way.

Compared to Ohms, I think this one flows better front to back. I still love “Genesis” and the title track from Ohms, but that record gets a little lost in the middle. This one hangs together. And sure, I’ll probably pull back some of my glowing praise in a few years once the shiny-new-thing effect wears off, but right now I’m happy to have new Deftones. Even when I nitpick, it’s only because I hold this band in such high regard. I’ve been with them through every album, and I don’t detest a single one. Private Music won’t be the record I reach for every time, but when I do, it’ll make me glad to be a fan still.

Dreams of Being Dust by TWIABP, Private Music by Deftones, Plus Chevelle Live in Chicago

Craig Lyndall — Fri, 29 Aug 2025 15:03:09 GMT

Summary

In this episode of the Album of Record podcast, hosts Craig and Andrew discuss their recent concert experiences, focusing on Chevelle and the evolving legacy of Deftones. They delve into the new album by Deftones, highlighting its quality and emotional depth, and compare it to the latest release from The World Is a Beautiful Place and I Am No Longer Afraid to Die. The conversation touches on the political themes present in the new music and the artistic expressions of both bands, concluding with reflections on the significance of music in today's context.

New songs from Deftones, AFI, Militarie Gun, Pool Kids, and More

Craig Lyndall — Fri, 15 Aug 2025 15:00:57 GMT

Summary

In this episode of the Album of Record podcast, hosts Craig and Andrew discuss a variety of topics ranging from personal anecdotes about running injuries to the latest music releases and concert experiences. They delve into the recent Taylor Swift album announcement, share their thoughts on concerts they've attended, and review new music from bands like Deftones, AFI, Military Gun, and Pool Kids. The conversation also touches on the legacy of Death Cab for Cutie and the challenges of vulnerability in songwriting.

Album Review: The Armed THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED

Craig Lyndall — Fri, 08 Aug 2025 16:02:58 GMT

Summary

In this episode of the Album of Record podcast, hosts Craig and Andrew discuss a variety of topics related to music, including personal concert experiences, the tragic incident at an Oasis show, and the ongoing streaming wars between Spotify and YouTube. They delve into the new album by The Armed, exploring its themes, production quality, and lyrical content, while also reflecting on the challenges of discovering new music in today's landscape. The conversation highlights the importance of live performances and the emotional connections they create, as well as the complexities of the music industry.

RIP Ozzy Osbourne, Plus Coldplay Viral Moments, and Hop Along

Craig Lyndall — Sat, 26 Jul 2025 14:02:24 GMT

Summary

In this episode, Craig and Andrew discuss a variety of topics including Coldplay's recent viral moment, the legacy of Ozzy Osbourne following his passing, and a deep dive into the album 'Painted Shut' by Hop Along. They explore the impact of these artists on music and culture, share personal anecdotes, and reflect on the power of live performances.