The Fat Angel Sings

Originally released in 1970, “Cricklewood Green” arrived at a moment when Ten Years After were riding a wave of international success following their explosive performance at Woodstock. Led by the lightning-fast guitar work of Alvin Lee, the band had quickly evolved from a traditional blues outfit into one of the most exciting and commercially viable acts of the late ’60s British rock scene. This album reflects that transition, combining their Chicago blues roots with heavier rock, boogie rhythms, and early progressive influences.

Recorded at a time when studio experimentation was becoming central to rock music, “Cricklewood Green” shows the band expanding beyond their live reputation into more layered and exploratory territory. The hit single “Love Like a Man” became a defining track of the era, earning chart success and cementing the group’s reputation on both sides of the Atlantic.

Newly remastered at Air Mastering, this reissue restores the album’s original power and nuance. In addition to the album is a newly mixed performance by Charlie Russell of their second set at the Fillmore East on Friday 27th February 1970 on disc two, the sheer power of the band is on full display. On the CD are a selection of rarities with the standout being a newly discovered “Cricklewood Jam” demo, recorded during the album’s sessions and never heard until now..

At the centre of the package are newly written liner notes by Nigel Williamson, with interviews with bandmembers and previously unseen photographs and rare ephemera. 

The 2026 Deluxe Edition features the original album remastered, previously unreleased 1970 Filmore East Concert newly mixed by Charlie Russell, brand new liner notes and unseen photography

The band have revealed to NME that they were behind a quiet LP drop in record shops this month, saying they’re trying to keep things “interesting” and “engaging for the fans” with their stripped-back latest project, inspired by ’70s Zambian music, Brooke Combe and more

The Coral have spoken about quietly releasing their surprise new album ‘388’ in record stores nearly a fortnight ago, ahead of officially sharing the project today (May 21st). Read on for more on how the “raw” collection came about, and listen to lead single ‘Let The Music Play’.

Copies of the LP appeared in independent vinyl shops across the UK completely unannounced. While it was clearly by The Coral, the band hadn’t commented on social media or anywhere else about the record, or confirmed they were behind the 11 new songs.

Now, the five-piece have broken their silence giving reason why they wanted to surprise fans with a new full-length effort – three years on from releasing both ‘Sea Of Mirrors’ and ‘Holy Joe’s Coral Island Medicine Show’ on the same day in 2023. It comes as ‘388’ arrives to the wider world via online streaming platforms and in high street music stockists nationwide.

“Releasing an album this way keeps us interested and keeps the fans interested too,” said frontman James Skelly of the initial low-key drop. “The idea was to release it how records used to be released: people can just have it for a couple of weeks, and it isn’t explained to anyone.”

Keyboardist Nick Power added: “Half the idea was that people would see it and think that, because we hadn’t announced anything, that ‘388’ might be a bootleg. We wanted people to wonder: ‘What is this?’ Not saying anything about it since it’s been out has been the hardest aspect.”

Skelly joked: “I felt a bit snide not reacting when people are tagging me in posts saying how much they love it.”

‘388’ was inspired by the nostalgia for The Coral’s beginnings as teenagers, as documented in the 2024 book The Making Of The Debut Album about their 2002 self-titled album and a documentary about the band’s history, 2025’s “Dreaming Of You”.

“Watching our documentary reminded me of how lyrically direct some of our early songs were,” Skelly said. “We needed to get back to that. I’d skirt around lyrics about love, when I shouldn’t. I’m trying to get the message across now as directly and emotionally as possible.”

James Skelly: Thanks! ‘388’ is our 13th album. If you’re not massive by your 13th record, you might as well try to be interesting. Hopefully, releasing an album like this is engaging for the fans. It’s not really for anyone else; it’s for the fans who have stuck by us. We released multiple versions of our album ‘Coral Island’, so it’s nice to do something simple as a contrast: one vinyl LP, that’s it.”

Skelly: “‘Sea Of Mirrors’ was a big, orchestral record. That record needed to be presented more, but ‘388’ doesn’t need a big fanfare. We felt everything we do needs simplifying, as everything – music, films – has got over-complicated.

“We’ve tried to get back to basics. The sound and the way this has been released is the simplest it can be.”

Nick Power: “There’s nothing sophisticated on this album, and that’s by design. Songs on the radio now, you can hear how everyone has been to the same songwriters.

“It’s harder now to strip music back to the bare bones. You’ve got to commit to making your music raw, because the instinct is to fix things and make it better. It’s more of a discipline to strip it right back and not fuck with it afterwards.”

Skelly: “We made this in a way that you can’t fuck with it. We’re all in the room together, playing on top of each other, so that you can’t really change anything. If you try to turn the bass up, it’ll also turn the drums up. Why do another take when it sounds good already?

Recorded to an original 1970’s Tascam 388 tape recorder and employing a ‘warts and all’ policy of retaining the essentially human, profoundly analogue sounds within the studio, mistakes included, the album was revealed with focus on the album opener, “Let The Music Play”, With a continued sense of introspection and focus on their roots, the release of a new video for “Leave It In The Past” finds the band performing amongst the bargains of Birkenhead Market in the company of director, James Slater.

Singer and songwriter, James Skelly, says of the location choice: “Ian and I used to live above a pub in Charing Cross, Birkenhead and wander round the market at weekends. It was a magical place to us. The atmosphere of the place, and the characters you still find there, reflect the ethos of ‘388’. It’s simultaneously of today and another time entirely.”

What comes after the big milestones? “Forever” finds The Big Moon reckoning with that question, writing toward a future that isn’t guaranteed but still worth believing in. Following frontwoman Juliette Jackson’s hearing loss in 2024, the band pivot from doubt to possibility, imagining a happier place and writing their way toward it.

Recorded at Bam Bam Studios with co-producer Sam Cohen, the result is direct, melodic alt-pop built on big choruses and genuine optimism. It’s a record about choosing hope—even when it has to be fought for.

We cannot wait to share this record and new phase of big mooning with you! The first song ‘Gravity’ is out now.

Also we’ll be going on tour and playing our biggest shows ever in the UK. Tickets are released on Friday 3rd July at 10AM. Pre-order ‘Forever’ from our online store to gain access to an exclusive presale.

out 30th October on Fiction Records.

When Dublin’s Gurriers released 2024 debut album “Come And See”, they underlined their status as a visceral, unignorable new voice in the thriving Irish punk scene.

Since then they have carved out a steadily escalating reputation for bone-rattling, mosh-ready live shows. “Come And See” pushed their lyrical chops and curious, socially-exploratory outlook to the fore too, platforming songs about digital angst and IRL terror in the modern world. In fact, the band – Dan Hoff ( vocals), Ben O’Neill (guitar), Mark MacCormack (guitar) and Pierce O’Callaghan (drums) – had been toiling away since January 2020 on their pandemic-affected but brilliantly ambitious new project. Early singles ‘Approachable’ and ‘Boy’ set out this stall, on music full of cathartic anger and fizzing energy.

The quintet’s superb second album might be called “Nobody’s Coming To Save You”, then, but it could easily be subtitled ‘harder, better, faster, stronger’. This is Gurriers taking all the musical chemistry and smart, interrogational worldview that made them great in the first place, and souping it up to the next level.

With “Nobody’s Coming To Save You”, Gurriers have sent their ambitions sky-high and come out swinging.

“The Irish quintet channelling their anger into fiery punk” – Rolling Stone

With the new record, Gurriers lean into the same charm, sharp dynamics and epic production that first put them on the map, and enhance things further with new pounding rhythms and lyrics that strike a balance between frustration with determination.

Frontman Dan Hoff and co. share the first taste of the LP in the form of the title track, which gradually grows and develops, until it reaches its fierce climax.

“It’s a song that feels hopeless on its first listen, but if you look at it more deeply it’s a call to action, no one is going to rise up if everyone expects someone else to do it. We all have to do our part in creating the change,” the band shared.

It also captures the same motifs of protest, resistance and personal reflection that the Irish band have become recognised for, and the initially bleak feel seems to evolve into a collective call to action with each listen.

(Live on KEXP)

Songs: Des Goblin 00:28 Approachable 05:05 Top Of The Bill 09:01 Nothing Happens Twice 14:02

Gurriers are Dan Hoff – Vocals Pierce Callaghan – Drums Charlie McCarthy – Bass, Backing Vocals Mark MacCormack – Guitar Ben O’Neill – Guitar, Backing Vocals

Feeble Little Horse is naturally delighted to present their third full-length LP, “Bitknot“

The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania. A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, “bitknot” by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-sufficiency” and materialism.

Slocum’s meandering introspection playfully harmonizes against Kinsler’s hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework. Meanwhile, some of Kelley’s most laser-focused drums to date create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.

Unlike songs like ‘Dancing in the Club’ and ‘Cataract Time’, ‘This Is Real’ makes a dissociative trip sound like a blast – in the literal sense, at least. “Put the heater to the–” Lydia Slocum sings before the – nu metal? death metal? neither tag quite conveys the disruptive wall of distortion – guitars complete the sentence for her: max. The Pittsburgh four-piece’s first new music in two years showcases a band not so much harnessing the contrast between hypnotic contradiction and dynamic intensity as erasing the difference. They’re the kind to drill the point home, but not without a twist or two; they’ll let out an indecipherable scream, but not without a real confession. “I got my anger off my chest but/ We’ll never be the same again,” Slocum ultimately sings, hushed and human. It’s a good thing, you venture.

In 2025, Frankie and the Witch Fingers unleashed “Trash Classic” a snarling, feral mutation of their earlier sound, packed with proto-punk venom, angular melodies, and decaying electro textures. The album charted in Billboard’s Top 10 Alternative Album Sales and the UK Official Charts’ Top 10 Rock Album Sales.

Now, 2026’s expanded “Trash Classic Deluxe” crawls deeper into the pile. LP 1 features the full original album, while LP 2 digs through the trash heap of unreleased demos, outtakes, experiments, and fragments from the album’s creation. Remixed and sequenced by the band as a standalone listening experience, LP 2 documents the band’s process and includes liner notes detailing the record’s evolution.

Expanded artwork by Jordan Warren includes a new cover, gatefold, inner sleeves, obi strip, and foil-numbered jackets, all containing two limited-edition “Smog City” dual-colour vinyl LPs.

© The Reverberation Appreciation Society / Greenway Records 

The Philadelphia-based rock ’n’ roll outfit Low Cut Connie come out swinging in more ways than one on their new album Livin In The USA. ​”I made this record because I am disgusted to see our country descend into an authoritarian hell a moral vacuum a place where art does not lead the cultural conversation,” says bandleader Adam Weiner. “I made this album to say fuck you to this regime to the brutality and inhumanity of our political and tech leaders. They are assholes with no class, taste, morality or art in their bodies.

I made this record because I refuse to let these motherfuckers steal our art and steal our joy.  Music with soul communicates on a level that no algorithm or tech bro or artificial intelligence or political machinery can ever understand or contain. Rock n roll is a table flipping artform It’s time to flip the table again.”

Seven months after changing their name from The Warlocks, Grateful Dead were a scuffling, unsigned band searching for an identity when they played Bill Graham’s Independence Ball on July 3rd, 1966. That show — making its vinyl debut exactly 60 years later — captures the transformative energy of a band moving almost too fast to catch.

The original performance was recorded by Owsley “Bear” Stanley and the new release was produced by Grateful Dead legacy manager and archivist Dave Lemieux, and mastered by Jeffrey Norman at Mockingbird Mastering with speed correction and tape restoration by Plangent Processes. 

While the Dead’s archive is legendary for its depth, complete high-fidelity documents of the band’s first year are rare. The July 3rd recording — which debuted in 2015 as part of the 50th-anniversary box set “30 Trips Around the Sun” — stands as a primary exception. It captures the group in the midst of a radical mutation, a charged R&B dance band already moving toward new  musical terrain in the star-spangled ether of the Independence Ball. At the time, the band featured Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan and Bob Weir.”

“The heaviest Deep Purple album in many years.” Deep Purple announce new album “Splat!”explores the end of humanity not in any crude apocalyptic sense but as a metamorphosis beyond physical existence”

“Where we are now with this incarnation of Deep Purple feels very much like a very ‘now’ version of Deep Purple as it was in the seventies,” says frontman Ian Gillan. “I have to say, now we are very much back in with material that is compatible with past songs “Highway Star”, “Smoke On The Water”, “Lazy,” the dynamics, the balance, and the fun of the music we made from 69 to 73.

“Arrogant Boy” the first release comes from Deep Purple’s upcoming 24th album, “Splat!” Classic rock icons Deep Purple, who announced details of their 24th studio album, last week, have launched the first single from the album. “Arrogant Boy“, described by drummer Ian Paice as “a “Highway Star“-style rock’n’roll tune”, features lyrics that’ll leave fans scrambling to figure out who they’re referring to.

“This is the story of Billy, who couldn’t read or write,” says frontman Ian Gillan, with a smile. “He is unhappy with things, so he speaks up, and finds a way of irritating, one way or another, the elite. And I can’t think of anything more fun than irritating the elite. It would be a joyous exercise for me every morning after coffee.”

“It’s a lovely story,” says Paice. “You could use your imagination about who it could be about.”

“It’s amazing,” adds bassist Roger Glover. “What started off as a dubious thought becomes my favourite track on the album.”

Deep Purple have released a second single from their upcoming 24th album, “Splat!” New track “Diablo” follows in the sonic footsteps of first single “Arrogant Boy”, and finds the band in typically frisky form.

According to Purple’s people, “Diablo” opens the door to one of Deep Purple’s surreal new story worlds: the most dangerous place on earth, where a heroine crosses a river, jumps into a fighting pit, celebrates with a bucket of wine, falls into the glitter pool and somehow makes it back home with a tale to tell.”

“It is all about taking chances,” advises frontman Ian Gillan. “Just for once in your life, do something exciting, step out of the mould, take that curious bend in the road instead of sticking to the highway and do something that will, for the rest of your life, either guide or warn you.”

“Diablo” also features some additional guitar work from country star Keith Urban, who seems to be making a habit of this sort of thing, and also appears on “Brown Paper Bag”, the new single from ZZ Top man Billy F Gibbons.

Deep Purple have released another new single from their upcoming album “Splat!” The supercharged “Guilt Trippin’ envisages a conversation between God and Charles Darwin, the pair sharing a pint or two as they reflect on how things on Earth have not exactly worked out as intended.

“The song starts, and I’m in the studio,” says Gillan. “I don’t have any words for it yet. So I just start screaming. It was the pure joy of yelling it.

“I vowed when I was 40 that I’d stop screaming by the time I was 60. Now I’m looking back and thinking, ‘Whatever happened to that?’ So we’ll give it a go.”

“Guilt Trippin” in the third single to emerge from Deep Purple’s upcoming twenty-fourth album “Splat!”

“Guilt Trippin’ follows the release of first single “Arrogant Boy” in May, and “Diablo” earlier this month, and is accompanied by a video in which a fly and a sycamore-seed spaceship embark on a wild ride through an increasingly surreal landscape.

Deep Purple’s 2026 world tour is currently on the road in Europe, with North American shows scheduled for August and September. Further European dates follow, climaxing in a run of UK shows in November. 

“Splat!”, which is produced by regular collaborator Bob Ezrin, will be released on July 3rd

Know well the cost of artistic integrity. In 2020, the Ontario duo – Cody Bowles (vocals/drums) and Kevin Comeau (guitar/keyboards/bass) – were the hottest tip in blues rock, backed by Universal Canada for their self-titled debut and toasted as Breakthrough Group at Canada’s Juno Awards. But when the pair decided – on 2023’s appropriately titled “Fearless” – that their hearts beat to a proggier time signature, the industry turned cold on them.

Now, as they release new album “Apocalypse“, they tell us they prefer to be on the bottom rung of a ladder they actually want to climb, rather than a higher rung of one they don’t.

Formed in 2015, the Canadian progressive rock duo Crown Lands have garnered acclaim in recent years with their self-titled debut album released in 2020, followed by the brilliant 2023 follow-up, Fearless. Now signed to InsideOutMusic, the Juno Award-winning group is poised to take the next step in their journey. While the duo, made up of vocalist and drummer Cody Bowles and multi-instrumentalist Kevin Comeau, work on their third studio album, they are first set to release a pair of ambitious instrumental albums titled Ritual I & Ritual II.  Both albums are layered with drums, synths, and various bits of percussion to create a complex tapestry of music unlike anything they have created before.  

Recorded during the uncertain period of the pandemic, with the band unable to enter the studio or tour, Bowles and Comeau looked for a creative outlet. “I suppose this record became our act of defiance against stagnation, in a time when so many familiar lights around us flickered out in the deafening silence. It was a glimmer in our darkness,” claims Bowles. “Ritual I” was made during a tumultuous time in our lives, alongside producer Justin Meli in our little B Room at Chalet Recording Studios. It served as a reprieve from the upending haze of the pandemic, far from the high-pressure studio sessions that typically accompanied the pursuit of our mainstream sound.” 

Beginning each day with a communion of Psilocybin, followed by yoga and meditation and equipped with a handful of demos created over a few weeks, Bowles and Comeau, started working on the music that would become “Ritual I”.   

Bowles explains, “The Serpent,” was the first we recorded, and it wasn’t even one of the demos we’d made to track. It all came together spontaneously within a single day. Perhaps it was the excitement of it all, of beginning something new, or maybe it was the moment Graham Shaw walked in with a collection of the coolest African percussion instruments I’d only ever dreamed of playing— now sitting right there in front of me. Whatever it was, it was magic.” 

Bowles continues, “I had studied West African hand drumming, dancing, singing, as well as Afro-Cuban kit drumming for five years in university, so I saw this as a perfect chance to showcase a dimension of myself (and by extension, the band) that few listeners might come to expect from a loud Prog Rock band. We knew right from the onset this record was going to be out-there, with me playing an array of flutes while drumming polyrhythmic bliss over Kev’s undulating and expansive aural matrices of synthesis.” 

Other songs follow naturally, eventually resulting in the completion of “Ritual I”.  A couple of years later, the idea of “Ritual II” came to be.  This time, they recorded the music themselves with Comeau spearheading the recording.  

“We wanted to record this one ourselves as our own decompression from the mechanical precision of the Fearless sessions with David Bottrill. It didn’t follow the same process as the first time around, and it was certainly not as fungal! The only constant between the two was the ritual of coming together under a different pretence to the norm—not to fulfill a specific expectation or outer pressure, but rather to create solely with the joy of creation in our hearts. In a special way, this record was truly our own in a way none other had been before,” says Bowles. 

While most of the tracks began without a plan and even without direction, the resulting music mysteriously fell into place.  The process became a rhythm of its own, a natural cycle that guided the pair.  

Bowles concludes, “It felt liberating to be so free with our creativity, and it was the next logical step for Kev and I, both in musicality and in scope: more textures, more strings, more complexity. We hope you enjoy these two journeys into unknown realms, and uncover the mysteries of the “Ritual” for yourself.” 

The studio version appears on the album ‘Apocalypse’ 15th May 2026 via InsideOutMusic.