The Fat Angel Sings

The release all hardcore Devo fans have been waiting for, “Art Devo” is a vital collection housing unheard and obscure mind blowers sourced directly from the vaults of The De-Evolution Band

Futurismo proudly present the release all hardcore Devo fans have been waiting for: “Art Devo 1973-1977”, a lovingly packaged box set housing rare, unheard and obscure mind blowers sourced directly from the vaults of The De-Evolution Band. This anthology takes you from the bands initial conception in Akron, Ohio to the moment before the world woke up, in a collection of sonic and visual art that captures Devo at the dawn of industrial death.

Art Devo showcases the mesmerizing evolution of a band on the brink of discovery, mining irony, wit and dark humour from the madness of a distorted modern world still coming to terms with aftermath of a collapsed economy and the Vietnam war. From 1973-1977 Devo would transform from an art project, pop art in the literal sense, into the group David Bowie would declare “the band of the future”. Here you will find the audio mutations of a band at the edge of greatness, initial concepts that gave birth to a new aesthetic that continually challenged preconceptions about music, art, performance, culture, composition and consumption…it was also the birth of Booji Boy. While the songs here may not be fully grown, raw even, these are the seeds of subversion that kickstarted Devo’s fifty year legacy.

3LP   – Spanning 3 LP’s and a 7”, this collection draws purely from that integral early history, garnered from unearthed basement recordings, original demo tapes, unfinished montages and rare live audio, all taken from the bands personal archive. The music is set against rare imagery, photos and personal artwork, with liners penned directly from the hands of founding members Jerry Casale and Mark Mothersbaugh and packaged in a gold foiled archive box containing separate art cards, to evoke a pseudo auction house art catalogue. Did we mention one of the images is also Scratch ‘N’ Sniff!

This is a one-time only, strictly limited edition box set, never to be remade, showcasing why Devo was, and is still is, one of the most important bands in American history. De-evolution is real. The art of Devo is real. Here is the evidence.

The set has a tracklist that has been curated by the band, housed in a gold foiled archive box, and contain a set of double sided art cards – including a Scratch ‘N’ Sniff image. Plus liner notes by Mark Mothersbaugh and Gerald V Casale.

Judas Priest has announced a 50th Anniversary reissue of their second album, “Sad Wings of Destiny”.

The British heavy metal legends shared the news to celebrate and commemorate the record, which was originally released (Mar. 23rd) in 1976, “Sad Wings of Destiny” was a defining moment for us as a band. It’s where we really began to shape the sound and identity that would carry through everything we’ve done since,” the group said in a press release. “To see it recognized 50 years on—and to have it presented in new editions—is incredibly meaningful.”

The upcoming “Sad Wings of Destiny” reissue is currently in production and will come out on Exciter Records. A specific release date hasn’t been announced yet, but it’s being overseen by the band’s longtime producer, Tom Allom, who also helmed a similar revamp of 1974’s “Rocka Rolla” that was released in 2024 by the same label.

As they did for “Rocka Rolla“, the “Sad Wings” project will include newly remixed and remastered editions of the record, alongside audiophile-quality pressings of the original album.

“The special editions focus on creating truly definitive versions of “Sad Wings of Destiny“, returning to the original multitrack and master tapes,” the press release details. “Developed in collaboration with Judas Priest, these editions deliver a new level of sonic depth, clarity, and fidelity.”

You might be forgiven, on first listen, for believing this is an early Black Sabbath song, with Halford sounding a little too much like Ozzy Osbourne in places. But Priest are definitely on their way with their second album, and “Victim of Changes,” clocking in at a less than eight minutes, demonstrates their early taste for ponderous but powerful rock epics. Also worth mentioning is “Dreamer Deceiver” from the same album, which is almost equal in stature. The riffs had arrived!

Both Allom and his engineer, Luie Stylianou, expressed excitement about the work that was already in progress to clean up “Sad Wings” for a future reissue.

“I think that one’s going to be a real step forward in terms of the band’s development. Obviously, we know the transition they made moving to “Sad Wings of Destiny,” Stylianou said. “We were a little bit unsure as to whether there would be as significant a change [going back to the master tapes].”

“But having kind of gone through the same process, mixing it on the board, and now to have it in Pro Tools and to be digging in, it’s quite significant,” he added. “It’s taken us by surprise what was lurking on those multitracks.”

As vocalist Rob Halford outlined during a separate conversation in 2024, both Rocka Rolla and Sad Wings of Destiny are important mile markers in the Judas Priest story.

“They’re the starting point. I tell you what is amazing, is the vastness between the two records. “Rocka Rolla” and then “Sad Wings of Destiny,” he marvelled. “[That second album] seems like it’s coming 20 years later, the way that the band suddenly [evolved], after that first experience in a professional studio with a producer and all of the components that you need to make a great record. That’s the first time we’d made an album.”

“It’s the same with any band. I’m not sure if the feelings are still the same, but we were banging into things, going, ‘What is that and how does that work?’ ‘What happens if you press this button?’ All of that curiosity that I think is important for bands to have in the recording sense,” he explained. “It was profound for us with “Rocka Rolla“. We learned very, very quickly, what to do in the studio. The difference between “Rocka Rolla” — and the writing, from [that album] to “Sad Wings“, is absolutely vast. They are important albums. This is the birth of heavy metal more than anything else.”

“Rocka Rolla” and “Sad Wings of Destiny” were isolated and somewhat lost pieces of Judas Priest history for decades leading up to 2022. That year, it was revealed that Gull Records, the label that had originally released both albums, had made a deal to sell the masters and publishing rights to Reach Music and Exciter Records in partnership with Judas Priest.

Understandably, Halford and the members of the group were elated, as they shared plans to remix and reissue both albums, with Allom supervising the process. “I’m just thrilled … because it just goes to show you when you get an expert involved in a project, it’s likely that you have a second chance,” Halford said in 2024. “And I think that Tom Allom is giving us a second chance here.”

Released in 1976, “Sad Wings of Destiny” marked a defining moment for Judas Priest — where power, melody, and precision came together to help shape the future of heavy metal.

Featuring timeless tracks like “Victim of Changes,” “The Ripper,” and “Tyrant,” the album showed the world what Priest was truly capable of.

Paul McCartney has confirmed his 27th studio album, and the title recalls days of old. “The Boys of Dungeon Lane” references a winding road several miles from his childhood home that delivered the young bird-watching McCartney to the banks of the Mersey River.

The new Andrew Watt-produced LP is due on May 29; preordering is already underway. McCartney’s resonant advance single “Days We Left Behind” a website was already up and running at theboysofdungeonlane.com. Teaser posters with “The Boys of Dungeon Lane” and “L24” had also popped up. (L24 is the postcode for Speke, the London suburb where McCartney lived as a youngster that’s also home to the title roadway.)

“This is very much a memory song for me,” he said in an official statement. “The album title, “The Boys of Dungeon Lane”, comes from a lyric in this track. I was thinking just that, about the days I left behind and I do often wonder if I’m just writing about the past but then I think how can you write about anything else?”

The “Boys of Dungeon Lane” were first mentioned during a verse from “In Liverpool,” one of some 25 demos under consideration for 1993’s Off the Ground. Producer Julian Mendelsohn passed on “In Liverpool,” which included the line: “Walking with the boys of Dungeon Lane, aimlessly towards a muddy shore.”

McCartney returned to the song – and Dungeon Lane – during 2008’s Liverpool Sound concert at Anfield Stadium. “This is where my love of the country came from,” he said in Barry Miles’ biography Many Years From Now. “I was always able to take my bike and in five minutes I’d be in quite deep countryside.”

‘The Boys of Dungeon Lane’ coming May 29th

The Dandy Warhols return with “Pin Ups”, a sprawling, shape-shifting collection of covers that pays homage to the songs and artists that helped define their sound – and their story. The album (out March 20, 2026 via Beat The World Records / Little Cloud Records) stitches together rare cuts, tribute contributions, B-sides, and long-shelved recordings into a cohesive, freewheeling journey – one that feels as much like a mixtape of obsessions as it does a proper studio album.

Inspired by David Bowie’s 1973 album of the same name, “Pin Ups” reimagines songs by The Cure, Gang of Four, The Clash, Bob Dylan, The Beatles, The Runaways, The Byrds, The Damned, and more. It’s both a tribute and a transformation: a lovingly assembled set of reinterpretations spanning decades, genres, and influences, filtered through the band’s unmistakable psychedelic cool.

Alongside the album release, the band unveils one of the album’s most electrifying moments: “Goo Goo Muck.” Originally made infamous by The Cramps, The Dandy Warhols’ version leans all the way into its shadowy energy – surf guitar dripping in reverb, equal parts camp and hypnotic groove. “When we started recording this, it must’ve been in the mid-teens,” recalls Courtney Taylor-Taylor. “We thought we were going to cover the original version by The Gaylads but when Pete [Holmström] started playing the spooky Duane Eddy guitar, we realized that, nope, we’re covering The Cramps.” The result is a track that feels unearthed from some dimly lit, smoke-filled corner of rock history – familiar, but warped just enough to feel newly-dangerous. It’s a perfect encapsulation of “Pin Ups” as a whole: reverent without being precious, playful without losing bite.

“Pin Ups” arrives on the heels of a prolific and creatively charged period for the band. Following the release of their critically acclaimed album “Rockmaker” (2024) – featuring collabs with Slash, Frank Black, and Debbie Harry – and its companion remix project “Rock ReMaker” (2025), The Dandy Warhols have continued to push their sonic boundaries, including a powerful return to the stage alongside The Oregon Symphony.

With “Pin Ups”, the band turns their attention backward – not to dwell, but to celebrate, reinterpret, and reframe the songs that shaped them. The result is a record that feels both deeply personal and wildly expansive: a love letter to influence itself.

The Dandy Warhols are Courtney Taylor-Taylor (vocals, guitar), Peter G. Holmström (guitar, keyboards), Zia McCabe (keyboard, bass, percussion), and Brent DeBoer (drums, backing vocals). “Pin Ups” is available on vinyl, CD, and digital formats now via Beat The World Records / Little Cloud Records.

Music can be simple. Lyrics can be vague and meaningless. Craig Finn of The Hold Steady, though, loves words. Finn brought verbosity to the forefront in indie rock with his story songs. Few likely aspire to matching his vocals, with no disrespect meant to nasal talk-singing, but The Hold Steady tell a true tale on “Boys and Girls in America.” That’s partially why several outlets named it the best album of 2006.

Those looking for “Separation Sunday” part two may be disappointed by the huge sound “Boys and Girls in America” has (the band’s moved to Vagrant); it’s not much of a concept record, and it’s not as Catholic, but all those struggles are in here just beneath the surface (and sometimes on top of it).

One of the ballads here, “First Night,” begins with a piano and an acoustic guitar lilting a rather loose melody that gives Craig Finn the support he needs to get out of his pent-up, novelistic, wordsmithing mouth. All of these characters are young, desperate, and fleeing from their inner fear, except for Holly who is wise enough to tell the protagonist that “words alone never could save us”….and then “cried when she told us about Jesus.” The piano fills out that unfillable hole in Holly and the rest, no matter where they run. Finn can do nothing but repeat his lines and find a last verse somewhere to let the song just fade into silence, because it never really ends. “Boys and Girls in America” is a sophisticated shambles.

There’s still a barely-on-the-rail feel, despite the literate compositions. Finn’s always either behind or ahead of the beat, but it’s alright, his bandmates can more than handle that because they’re as engaged as he is. There are a few guests, and even a horn section on one track, and the classic girl group chorus call and response from Dana Kletter and her gorgeous voice. There’s real sadness in the Wall of Sound and chanted chorus in “You Can Make Him Like You,” which examines everything from addiction to betrayal, to the insecurity in love that can push someone over the edge, never to return. Thin Lizzy makes a return on “Massive Nights,” complete with roiling bass as Finn opens the whole escapist mix, swinging and setting up a hedonist’s dream: “The guys were feeling good about their liquor run…”

There are low expectations and drama where only the music counts. The tune turns back on itself when the singer is trying to convince himself and the huge, wailing, responsorial chorus, that something so utterly suburban could be cool, until “She had the gun in her mouth/She was shooting up at her dreams/When the chaperone said that/We’d been crowned/the king and the queen.” And it just ends. The chorus doesn’t repeat. Elizabeth Elmore’s and Dave Pirner’s character triplet vocals on “Chillout Tent” help to create a sprawling narrative. Finn’s the narrator, the other two are such broken and wasted — even OD’ed — people; they kiss urgently, which is alternately “sexy…but kinda creepy.” The song doesn’t really work, but it’s brave as hell as an experiment.

The reason this record is worth embracing, and even celebrating, is because it’s an honest to God rock & roll album. It exposes in the first and third person what it means to grow up right now in the midst of suburban waste. It’s angsty, but Finn’s got such a sense of humour, and the band can play their asses off. That they so readily embrace rock history as a means of unfolding Finn’s stories suggests that “cool” and “indie” are simply terms in the larger dialogue. This is a smoking little record. Its focus is small, but reach is large;

The legendary rock duo The Black Keys blew the roof off our New York studio. These guys have been playing together for over a quarter century, and it shows. The 5-time Grammy winners are back with a new album that nods to their blues roots and reimagines some under-appreciated tracks—and it all started as a casual jam session.

You don’t want to miss it. Huge thanks to @JackDaniel’s for making this possible.

00:00–0:26 Intro 0:26–4:09 You Got To Lose 4:09–5:26 The Black Keys sound 5:26–10:30 Where There’s Smoke, There’s Fire 10:30–12:53 The process 12:53–17:05 She Does It Right 17:05–18:11 Breaking rules 18:11–22:23 Who’s Been Foolin’ You

Vault #68: “The White Stripes Live in Tasmania“

A 33 song performance collected on 3xLPs, expertly pressed on 180-gram black, white, and red vinyl 
-12-inch single of Jack White & Eminem’s Live performance at Ford Field, capturing last year’s triumphant collaboration for the 2025 Detroit Lions Thanksgiving halftime show.
-3 limited edition cards. An introduction to Third Man’s new collectible trading cards imprint. 

The White Stripes’ performance at Tasmania’s Hobart City Hall on January 31st, 2006, recorded at the tail end of Jack and Meg’s exhaustive, five-continent, months-long run supporting the album “Get Behind Me Satan”, The White Stripes “Live in Tasmania” is a downright showstopper.

When the duo locks into their telekinetic zone, there is no parallel. For this brief moment in time, nothing else in the world mattered more than these two people on this one stage in front of 1,200 fans with mouths agape.

As if all that weren’t enough, Jack White & Eminem’s “Live at Ford Field” showcases the unmitigated triumph of the two Rock & Roll Hall of Famers’ instantly iconic live collaboration for the 2025 Detroit Lions Thanksgiving halftime show.

With the smooth bass-led groove of “That’s How I’m Feeling” leading to the mashed-up medley of the White-penned “Hello Operator” with the Eminem smash, “‘Till I Collapse,” and rounded off with another roaring version of “Seven Nation Army” the once-in-a-lifetime moment was instantly praised for the energy it exuded – two Detroiters, two undeniable legends, creating something magical. 

Over the past twenty years, Future Islands have travelled a rare arc, from promising newcomers to best-kept secret, from cult favorites to heroes of the genre. As they reach this remarkable milestone, they resist the obvious move.

Instead of a ‘best-of’ compilation victory lap, Future Islands present “From a Hole in the Floor to a Fountain of Youth” – an immediate and accessible collection – half of which has never appeared on streaming services – comprising alternate hits, rarities, and fan favourites that showcase the band’s palette and bring further colour to their uniquely universal appeal.

As the title suggests, this double-LP traces the group’s journey from humble origins toward ever-widening horizons. Twenty songs for twenty years, four members of the band, four sides of vinyl. Future Islands have always been more than a viral moment; their career contains extraordinary depth and nuance, often overshadowed by louder peaks. These songs reveal a band comfortable with subtlety, grace, and emotional endurance – and they have never sounded more eternal.

Future Islands can wow and dazzle, but this release is about something else, something understated and more profound. “This is for everyone who has carried these songs with them, from the first house parties to the rooms we’re playing today,” explains Cashion.

The songs were first gathered into a playlist by bass lynchpin William Cashion, who also chose the title – “I’ve always loved the imagery of that lyric,” he makes clear, “The hole in the floor is the everyday, but the fountain is the magic that happens when the life you dreamed about actually becomes the one you’re living. It’s the dream and the reality existing in the same room.” A well-known Tennessee Williams quote talks of this kind of duration – “time is the longest distance between two places.” It is time that really separates the floor from the fountain.

Future Islands celebrate 20 years with ‘From a Hole in the Floor to a Fountain of Youth’, the new album out May 22nd.

“My heart’s stuck to a rocket/on and on nothing’s gonna stop it” sing Pacific Northwest band Sun Spots on their awesomely catchy new single ‘Rocket’. They fire off an exultant punky power-punk anthem rife with fizzy riffs, besotted melodies, that light the fuse and shoot into the sky. Really catchy and totally ace and bursting with uplifting hooks, it reminds you of the early 90s Seattle sound but with a shiny coating, think Breeders or Belly but with a current sensibility. It’s the lead single from the band’s upcoming second EP, “Dog is Calling“, out now on Seattle indie label Den Tapes.

Featuring members of a handful of Seattle-area hardcore and punk bands, Sun Spots new EP was mastered by Greg Obis (MJ Lenderman, Wishy, Tim Heidecker, Snooper) and features four upbeat, driving tracks with bright, buoyant vocals anchored by thick, crunchy riffs.

It comes as a follow-up to the band’s 2022 “Loosey” EP and a handful of shows up and down the west coast, which saw them sharing stages with acts like Enumclaw, GUV, and TV Star. 

Divorce Attorney released a new single ‘Got Lost’ from the upcoming debut EP “Always Something” (April 3rd).

‘Got Lost’ deftly fuses the five-piece’s love of driving grooves laced with elements of shoegaze and alternative rock, crafting an insidious slow-burning alt rock sound. Produced by Spencer Withey (Back/Burden, Man/Woman/Chainsaw; Cowboy, Alien Chicks) and mastered by Felix Davis (Geese, CQ Wrestling, Westside Cowboy), ripe with a twisty turning sound that reminds one of Spiritualized or early Radiohead, with the early ‘just a second there’ nods at Radiohead too?

It spirals into a firework of a track underpinned by propelling twitchy drums, synths swells and decorated in fuzzy riffs, and laced with Nathan Key’s carthasis.

Speaking about the new single, frontman and rhythm guitarist Nathan Key explains:

“‘Got Lost’ was the last song we wrote for the EP, but the first we recorded. I think it’s got that energy that you can only get from a song that you haven’t spent a year deliberating over. It feels urgent. He continues: “The whole ethos of this track was to push ourselves into uncharted territory, we wanted to explore how it would sound if we restricted ourselves to that trendy 2:30 runtime. I think we’re all really proud of it”

Making a name for themselves as a live band touring across the UK, Divorce Attorney have opened for the likes of SANAM (Beirut), Alien Chicks, University, Lunar Vacation, Lifeguard among other bands, played sold out shows at The Windmill, Green Door Store, and have played on Homegrown Festival & Wanderlust Stages.