The Fat Angel Sings

Matt Berninger, the singular voice at the centre of The National, releases his new EP “Type It Up”. The collection brings together three new original songs alongside two previously released covers, and a bonus acoustic live recording.

This release follows Berninger’s critically lauded second solo album, “Get Sunk”, released last year via Book/Concord Records. Both the album and supporting live shows have garnered widespread praise from fans and critics alike. In addition to tracks from “Get Sunk” and his solo debut, “Serpentine Prison”, Berninger’s live sets have featured a compelling selection of covers that also include Nirvana’s “All Apologies” and Radiohead’s “Kid A.”

“Type It Up’s” tracklist moves through tones both personal and expansive — from the unforgettable EP opener “Martini Me Fatso” that was released earlier this summer to the title track’s searching quality, before arriving at the stillness of “Ask For Water.” The EP also features Berninger’s rendition of New Order’s iconic “Blue Monday,” previously released as an Amazon Music Original track, and a cover of Velvet Underground’s “Who Loves the Sun” with Rosanne Cash, as featured on the Australian television show Sunny Nights.

“These songs came out of the momentum and energy of the “Get Sunk” tour,” Berninger shares. “I was changing lyrics and forms night after night, and we were getting real time feedback from audiences and social media comments. On the song ‘Type It Up’ (originally titled ‘Black Letter Font’), people were mishearing the lyric, ‘That would look good in a black letter font’ as ‘I would look good in a black leather thong,’ so I decided to swap the chorus. I’m more of a black linen suit guy.”

London quartet Veronica Falls‘ self-titled 2011 debut album introduced a band with a deceptively simple proposition: take the sweetness, immediacy and melodic rush of classic pop and indie pop, then let something darker seep through the cracks. Now, fifteen years on, Veronica Falls returns — in deluxe form with an album’s worth of bonus tracks — as a reminder of just how potent that original formula was: beautiful, bruised, and instantly memorable.

The anniversary reissue includes a bonus disc gathering nine recordings from the same period. Side C brings together five cover versions, the Rolling Stones’ “Under My Thumb”, Slumber Party’s “Sooner Or Later”, The West Coast Pop Art Experimental Band’s “Eighteen Is Over the Hill”, Eurythmics’ “Thorn in My Side” and The Verlaines’ “Joed Out”.while Side D collects four B-sides from the band’s early singles, rounding out a collection that reflects both the breadth of their influences and the distinctive sensibility that ran through their work. Out December 4th on Slumberland and November 27th via Bella Union

Veronica Falls‘ Legendary Debut Album Gets Expanded Reissue

“The day has arrived, our sixth full-length album ‘What They Grow In The Garden’ is officially out in the world! This record is an examination of the hive mind. It’s a surreal and absurdist exploration of what it means to be human and live in a system designed to exploit our perceived weaknesses by means of capitalism. We hope listeners will consider both the shadow and the light of the archetypes we use to tell this story, and ultimately take away an invitation for self-liberation amidst the flickers of seemingly inescapable dread.

The permeating blue light of the external world persists, and yet it is still possible to find your freedom and identify your core truths if you go within. May your existential crisis be activated and eased.
We also want to give a Massive thank you to all of the incredible people that collaborated with us on this music and creative direction. We are so fortunate to be surrounded by so much talent and we love making magic with others.

And, WE LOVE OUR FANS!!! We are blessed to have you and have been loving meeting so many of you on the road.

Leah Wellbaum · Guitar, Vocals, Will Gorin · Drums, Percussion, Bass, Piano on “Dissolve The Delusion”, “Dystopian Cemetery”, “What A Night” and “Hearst Castle” by Willy Beaman Violin on “Absolute Power” by Allie Stamler

Palace return with their most open-hearted collection yet, “Ox.” Palace’s fifth album, “Ox,” finds beauty and wisdom in the most human of revelations watching a child encounter music for the first time, feeling overcome by gratitude, or sensing that the possibilities ahead are endless

The album arrives as Palace continue to thrive as an independent act. What began in 2016 as Palace Presents, a monthly takeover at The George Tavern in London, has evolved into a worldwide community. This their fifth album “Ox” arrives entirely on the band’s own terms, marking a new era of independence shaped by the freedom to write songs for no one else but themselves. There’s a world of beauty and excitement to be found here: An instinctual, openhearted response from a band to their changing lives, channelling their signature dreamlike textures into songs that feel more alive with emotion than ever before.

Recorded in Deptford with longtime producer Adam Jaffrey, “Ox,” in drummer Matt Hodges’ words, has “a lightness and a momentum to it.” Across 10 warm, sprawling songs, the album embraces a more instinctive and organic approach, drawing inspiration from The Band, Townes Van Zandt, Edward Hopper’s hushed Americana and life on tour.

Following last year’s “Greyhound” EP, “Ox” places renewed emphasis on dynamics and space, with highlights including lead single “Kid”, an affirmation of love written about longing for one’s child while on the road and six-minute opus “Brown Bread.”

This autumn, the band will embark on a major North American run, following a sold-out homecoming show at London’s iconic Somerset House this summer.

When Frank Zappa And The Mothers Of Invention’s “Freak Out!” arrived in the summer of 1966, it represented a seismic shift in what a rock album could be. Released by Verve Records on June 27th, 1966, as one of the first double albums in rock history — and virtually unprecedented as a debut release — Zappa and The Mothers rejected the prevailing conventions of the three-minute pop single, instead crafting an ambitious work that blended doo-wop, rhythm and blues, orchestral music, free jazz, tape manipulation, and biting social satire into a cohesive artistic statement.

In fitting celebration of 60 years of “Freak Out!”, a newly expanded 60th anniversary edition will be released in a Super Deluxe Edition that features 105 tracks in total, many of which have never been released.

The complete vault mixes from a demo session recorded October 1965 have been compiled here for the first time for the 60th Anniversary box set. “I’m Not Satisfied” is one of the newly discovered tracks.

Produced by Zappa Vaultmeister Joe Travers, this new, expanded collection contains Travers’ digital transfers and John Polito’s 2026 mastering of the core album’s 15 tracks, along with the rediscovered 1966 pre-master mix, the retrieved and restored 1966 mono mix, Fillmore Auditorium tapes mainly culled from a trio of live 1966 dates, original Mothers 1966 rehearsals, original Mothers demos, mono vocal reference mixes, and a truly special three-track “Freak Out!” late-night jam session outtake collage.

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation — fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 — morphed from making quick-hit cartoon-art songs to Eno and John Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through.

Yummy Fur’s brand new single ‘Wanda’ is out now A miniature portrait study, the song folds together the life of filmmaker Barbara Loden with the protagonist of her singular 1970 feature ‘Wanda’ – a meditation on identity, dislocation and escape.

The accompanying film, shot in part on Super 8 by Roberta Cumbianchera, stars fellow Argentinian actress Daniela Aita. Drifting between Hollywood Boulevard and the faded fairgrounds of Raymond Chandler’s Santa Monica, its luminous imagery mirrors the song’s spectral pull.

“Everybody Talks About The Weather” delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.

Their upbeat single ‘Headphones’. A jogger’s delight of a song musing on life’s reckonings, Carrie Fisher and tinnitus – all written outside a tanning salon in Ayr! In short… The Yummy Fur at their most spry and disarming, classic territory.

“Everybody Talks About The Weather” is seductive, ambiguous and exhilarating; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. “Everybody Talks About The Weather” boasts ten tracks as condensed and vital as their best work, with a new clarity of sound that ushers ambiguities to come into the light.

The bands first single ‘Unity Over Europe’, a bruising stomp of song, lyrically playing host to three Mitford sisters amidst allusions to V2 rockets, Pynchon and a Bacon triptych. All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened.

The Yummy Fur’s new album ‘Everybody Talks About the Weather’, out September 24th on Upset The Rhythm.

Legendary guitarist Robin Trower is about to release his new album “Shine“. Ask him to explain his late-period creative burst and the legendary British guitarist can only shrug: “I think you’ve either got to keep pushing — or give up.” Now 81 years of age, with a mythology that spans from the clubs of Swinging London to Procol Harum, through 1974’s gold-selling “Bridge Of Sighs” and onward into a vital post-millennial solo catalogue, the veteran bluesman’s place amongst the all-time greats is beyond doubt. Yet while his ’60s peers have long softened into greatest-hits autopilot, this restless artist still starts each morning the same way: Stood in his workroom with a battle-scarred signature Strat, hunting down the magic note that will spark his next song.

“Then I’ll wake up in the middle of the night,” he smiles, “with a line for the lyric.” Kicking off the sessions at his favoured Studio 91 in Newbury — then moving to engineer Sam Winfield’s new facility The Pines to fix the holes — Trower’s thumbprint is all over a powerful, intimate new album where molten guitar solos drive songs urging us to meet the modern world head-on. “I agree with people that it’s a very dark time. But I don’t want to make gloomy music. I think that most of these songs are positive.

Debut single ‘Live Your Time’ taken from Robin’s 2026 album ‘Shine’ released on September 25th.

Tom Morello returns with his first solo rock album, “Everyone Gets Everything They Want“. Produced by Tyler Smyth, Carl Restivo, Zakk Cervini, Dan Carey and Sam Nelson Harris, it features guest appearances from Serj Tankian, Kneecap and Beartooth. Morello’s son Roman Morello co-wrote five tracks, contributing guitar riffs and solos. Morello is a Grammy-winning, Harvard-educated, Rock And Roll and Metal Hall of Fame-inducted artist, songwriter, and activist living proof of the transformative power of rock ‘n’ roll.

Known for his innovative guitar work and socially conscious songwriting, Morello rose to prominence as a founding member of Rage Against The Machine and Audioslave — two groundbreaking bands responsible for multiple Grammy Awards and more than 30 million albums sold worldwide.

My first-ever solo rock album, “Everyone Gets Everything They Want” arrives September 25th,

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.

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’. Recorded at Donegal’s Attica Studios and Holy Mountain Studios in London with producers Mark Bowen of Idles and Loren Humphrey (Geese, Cameron Winter), alongside engineer Chris Fullard (Idles, Sunn O))) and world-renowned mixer John Congleton (St. Vincent, Modest Mouse, Swans), the crack team that readily assembled for album number two speaks volumes of its quality from the off.

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.

“A reckoning,” Mary Gauthier writes on the outer sleeve to her new album, “can be personal, political, or spiritual. These songs inhabit all three realms at once.” Yes. Yes, they do. Mary’s most celebrated songs “I Drink”, “Mercy Now”, “Drag Queens in Limousines” are confessional stories, closely observed, clear-eyed and compassionate. She sings with the unmistakable languor of her native Louisiana, writes with the bluntness of Boston, where she was once a restauranteur, and rewrites with the fierce precision of Nashville, her home for many years.

Her 2018 release, “Rifles & Rosary Beads“, co-written with wounded Iraq war veterans, received a Grammy nomination for Best Folk Album, and an Americana Music Association nomination for Album Of The Year.

“Reckoning” is a dense, carefully nuanced, profoundly complex text, though all nine songs are presented as directly as possible: Mary’s voice, her guitar, bits of harmonica. Folk music, of a kind, but not a broadside. Nothing so easy as that. Topical songs with a long view, because she’s seen and lived too much of it.”

distributed by Soundly Music Released on: 2026-07-10