The Fat Angel Sings

Lily Seabird has shared the title track for her new LP, Lightspheres on Their Way, which is out this Friday on physical formats via Lame-O Records Regarding the new track, Seabird said: “Lightspheres” are so many things throughout this record, UFOs, memories, dreams, people, an unknown force pushing and pulling us through. Without being too specific I think in a lot of ways this song deals with the feeling of loving someone through a great distance.

“I was also thinking a lot about Brent Mydland,” she continued, “who was the keyboardist of the Grateful Dead from 1979-1990, the end of this song is really inspired by his song ‘I Will Take You Home,’ specifically the studio version which is on “Built to Last” (1989). Recording this song was really fun and figuring out the arrangement me Daniel and Rick really worked this one out together. The outro of this song is my favorite part which we completely improvised and kept.”

Seabird also announced new December tour dates, “Lightspheres on Their Way” Released soon .

Unreleased studio tracks from the October 1977 Memphis recording sessions that Unleashed ‘Human Fly’!! Mixed by Alex Chilton, Poison Ivy and Lux Interior!!

With tracks selected and mixed in the late 1980s, “Gravest Gravy” was designated by Lux and Ivy for release years ago, but for reasons lost to time, remained shelved until now. Completely rippin’ versions of classic early Cramps tracks, two of which feature Alex Chilton on organ. Cut from the analogue source tapes, and mastered expertly in Nashville. Stay Sick! Turn Blue!
 
 In October 1977, the Cramps, who were at that time, Lux Interior on vocals, Poison Ivy on guitar, Bryan Gregory on guitar, and Nick Knox on drums, ventured into Ardent Studios with the extraordinarily talented musician and producer, Alex Chilton. These sessions were responsible for the first two Vengeance Records releases, both permanently disfiguring the music world in 1978

In 1979, young British degenerates were treated to a five track 12” EP by the Cramps called “Gravest Hits”, which featured all four tracks released in the USA, along with another from the October 1977 sessions, a great channeling of Ricky Nelson’s hit “Lonesome Town“. From there, the band released their first LP, “Songs The Lord Taught Us”, again working with Alex Chilton, and went onward, releasing records and touring all over until the sad passing of Lux in 2009.
 
What Cramps fans might not know, was at Ardent, the band had planned to record their song “T.V. Set” to be their first A side, along with another track or tracks. Alex told them that he liked to have a band play every song they knew and the best of the batch would be committed to vinyl. This was fantastic advice, and luckily for us, that’s what the Cramps did. This is how “Lonesome Town” found its way to “Gravest Hits”. But, there was much more to the story.
 
In the late 1980s, Lux and Ivy endeavored to release more recordings from the October 1977 sessions. It was to be titled “Gravest Gravy“. It was a record for the fans, a journey back to Memphis, back to the first Cramps records, that, try as it might, the world has been unable to heal from. Lux and Ivy mixed several tracks between June 14th and 30th, 1989 at Present Time Recorders, in North Hollywood. Alex mixed a few tracks in Memphis. The album had a title, a cover by the great Stephanie Chernikowski, who passed away recently, but for reasons lost to time, “Gravest Gravy” was shelved.
 

“I would like to take care of your stuff.” That’s what Henry Rollins said to Poison Ivy—who, with her forever-partner Lux Interior, founded rockabilly’s most primally aggressive ensemble, The Cramps—upon the discussion of her band’s original tapes, paperwork, and ephemera, which was residing in her LA County garage at the time. Of course Rollins wanted to take care of all things Cramps: Along with being an author-editor at his 2.13.61 Publications and host of a long-running KCRW show, Rollins is an archivist/detective type dedicated to literally preserving music and moments that hold historical import to him (and plenty of others). Aiding and abetting The Cramps in keeping their “stuff” intact, then, is a calling—an active duty—for Rollins. He’s even got a temperature-controlled space in his home in Nashville to prove his mettle, as well as his fierce dedication to what he considers legacy. 

Such as The Cramps, to which I couldn’t agree more. At punk rock’s gleaming in 1976, the band presented a uniquely bizarre image and ferocious musical output: something macabre, perhaps kitschy at times, but always dangerous. If anyone was going to push you off the cliff, it was Lux and Ivy, whose outlandishly fun and nightmarish run ended when the former passed away in 2009. “Larry [Hardy, of In the Red Records] and Ivy were at my house in Los Angeles as I was discussing me—or someone—looking out after all of their carbon-based material,” Rollins says. “I wasn’t looking for ownership, but rather to maintain their archive. I knew that the tapes were in the garage because Luz and Larry loaded them in years before.”

After deciding that Rollins would be the man to oversee The Cramps’ deep vault, Hardy found seven quarter-inch tapes with writing on them that seemed to be a unifying “concept.” Upon questioning Ivy as to his find, she presented a rough sketch: After having originally recorded these songs at Ardent Studios in October 1977 with Alex Chilton during the sessions that yielded The Cramps’ “Gravest Hits” EP, Ivy and Lux went on to mix nine of the 12 tracks Hardy had just discovered (Chilton mixed the other three) at a North Hollywood studio in 1989. They’d intended to make “Gravest Gravy” their last-ever album to be released in 2008 “in order to go full-circle, present the songs you didn’t get to hear in 1977,” but upon Lux Interior’s sudden illness, Ivy understandably didn’t wish to go ahead with the album project.

With some of the wounds of Lux’s passage healed, she gave the go-ahead to release “Gravest Gravy” nearly two decades later. The tapes were baked and sent to Rollins, who made his “‘keeps’ and ‘takes’ notes” from the original mixes with Ian McKaye (“whose ears I trust far more than mine”) further deciding upon its sound, vision, and running order. Rollins additionally credits Cramps team members such as Brian Kehew, Don Zientara, Pete Lyman, and Jo Murray for the vinyl version of “Gravest Gravy” that you have before you. 

Or don’t. Because the first print run of “Gravest Gravy” sold out quickly following its August 21 debut. “No one imagined just how great the hardcore interest would be in Cramps vinyl,” Rollins says. “But I’m begging people to please not pay the stupid prices on eBay. More are being made, pressed in the United States, so the turnaround won’t be long.” 

To go with the fresh release of “Gravest Gravy”, a 7-inch single mix from those same 1977 sessions produced an “alt mix and different vocal version” of “TV Set” paired with another alternate mix of “Can’t Find My Mind” as its B-side, which is set to be released in September. With that, here’s Rollins’ own fast and furious run down of every one of the 12 songs on “Gravest Gravy”.

1. “TV Set”
When The Cramps first went into Ardent, they wanted this track to be their first single’s A-side. It was love at first sight between Chilton and The Cramps. They felt safe with him. He brought them into Memphis, which was heaven for Lux and Ivy. But Alex was more organic than a guy choosing the A-side from the start. He just wanted to record every song that they’d been playing out and seeing what stuck out, naturally. That’s a great thing for a young band. Doing 15 songs and not three—you’re not stiff, you’re not pressured to worry about A-sides. You just play, sweat, and get into the moment. Lux came fully formed: great concert, great vocal control. I like this version of “TV Set” more than the “Songs the Lord Taught Us” album version.

You should listen to how great [guitarist] Bryan Gregory is here, that discordant dun-dun-dun-dun at the beginning of the tracks. It’s really in-your-face. Most producers might have told Bryan to cool it. Alex knew, however, that such intensity was the essence of The Cramps. This is a really ripping version—and we have a lot of different mixes on this track, so we know how concentrated Lux and Ivy were on “TV Set.”

2. “Weekend on Mars”
This was a big live track of theirs. On the bootleg, “Tales From The Cramps: Vol. 1″, there’s a great version from the Hot House sessions in New York. There’s a live recording of it on “Smell of Female“. So this might be the first official studio-recorded release of it, but don’t hold my feet to the fire. It’s got a great riff, a dynamic vocal.

3. “Twist & Shout”
What’s fun about this is that it was a part of their live sets very early on, but came and went as newer original songs began to flood their set lists. There was, at one time, a different vocal attached to this: “drug train.” They went back and forth on what lyrics they would use. I prefer the “twist and shout” lyrics.

4. “Jungle Hop”
This song came out officially on “Psychedelic Jungle” with Kid Congo on guitar, so what you get on “Gravest Gravy” is Bryan Gregory Monday-morning quarterbacking. Both guitarists are great, but Bryan is just more aggressive, more dissonant. Kid was fuzzier and, like the album title portends, it’s hazier on “Psychedelic Jungle”. When Bryan went more aggro, [drummer] Nick Knox got more forceful and intense because The Cramps had no bass player. He got a lot of attitude from Bryan on this track, so this wound up as one truly gnarly version of this cover of a 1958 Kip Tyler song, with Alex guesting on keyboards under the name “Booker T. Chilton.”

5. “I Can’t Hardly Stand It”
This song was in The Cramps’ sets going back to the Max’s Kansas City/CBGB days, but Kid Congo did wind up recording a version later on. Lux has got a great vocal here on the 1977 take. This is a cover of a King Records Charlie Feathers song from 1956. Ivy and Lux really loved Charlie Feathers.

6. “Hungry”
Me being a tape trader nerd boy from day one, hearing this song done in a studio version in 1977 was a must. It’s a Paul Revere & the Raiders song from 1966 with Chilton playing the organ. The early CBGB and 9:30 Club—back when that spot was called The Atlantic—tapes had this track in their set lists. Real blink-and-you-miss-it stuff. I knew nothing about Paul Revere & the Raiders, and Cramps fans should be thrilled by the fact that they were covering a British Invasion band. They mostly played rockabilly covers.

7. “The Natives Are Restless”
This has a completely different lyric than the version they recorded on “Psychedelic Jungle“. I actually prefer these lyrics to the latter-day set that we’re more familiar with. This version is more hectic, Bryan Gregory at his best. A lot of the energy that you hear coming through on “Gravest Gravy” comes from nerves more than it does confidence. Even though Lux is large and in charge vocally, I think this record benefits from youthful enthusiasm. It’s more excitement than nerves. It’s like a dog on the first day of snow.

8. “Domino”
This song presented my greatest question mark when I received the reels. I mean, it was on the tapes they gave us, so it went on this record. But “Domino” had already been released on 7-inch. Why are we hearing a different version? The original was great. 

9. “Can’t Find My Mind”
This is one of the more fun tracks that we find later released on “Psychedelic Jungle“. It’s also on some of the earliest Cramps live tapes—like Van Halen and Devo, so many of their earliest songs wound up on their second album. Great concept, being so high on something. Great rhyme. Think “Just Dropped In (To See What My Condition Was In).” We had two mixes on this song, but I really got grabbed by Lux’s heavy echo on the vocal on this take. You should A/B it against the “Psychedelic Jungle” version.

10. “Rockin’ Bones”
Ronnie Dawson, the Blonde Bomber, wrote this. It winds up later on “Psychedelic Jungle”, but what’s interesting about this early version is that it’s closer to other raw demo versions of their songs. They did this song the first time I saw them on April 20th, 1979. The “raw bones, raw bones” shouting—that’s Bryan Gregory. Watching him scream while all of his acne scars turn bright pink—that guy terrified me. The “Psychedelic Jungle” version is very opiated. Great, but on ether. I love that this take is more uptempo. 

11. “Problem Child”
This is another Max’s-era live track. Roy Orbison recorded this and claimed ownership. Sam Phillips did, too. There are documents to both effects. I don’t want to get called out by any musicologists. Anyway, remember that Chilton wanted them to play everything they had, and this is one of the best songs that flew in and out of their set lists in the early days.

12. “Rocket in My Pocket”
This is a 1958 Jimmy Lloyd track, and one of the greatest A-sides that I ever heard. When I first saw The Cramps, they did “Rockin’ Bones,” “Human Fly,” and “Rocket in My Pocket.” After the show, I wanted to hear these songs again, immediately. I never even realized at the time that only “Human Fly” was an original. I forever believed that they’d never made a studio version of “Rocket.” Hearing it now, going through those tapes—that was mind-blowing. After this track, we segue into Lux yelling and screaming right at the beginning of what was going to be a vocal take for “[I Was a] Teenage Werewolf.” Experienced Cramps fans will actually remember this yelling and screaming—an edit of this studio argument, Lux having a meltdown, going a little bit diva—as the CD extra on “Songs the Lord Taught Us“. There’s actually a longer version of his argument, Maybe we’ll put that out, too.

Spacey Jane recorded ‘Exit Wounds’ during the sessions for 2025’s ‘If That Makes Sense’, but these six songs stand firmly on their own. The EP pushes the Australian band’s ‘80s-influenced indie rock and pop further, with bright guitars and melodic hooks underpinning Caleb Harper’s confessional, autobiographical lyrics.

“Exit Wounds”, the new EP from Australian indie-rock sensation Spacey Jane, builds on the band’s unstoppable momentum following the release of their critically acclaimed third studio album ‘If That Makes Sense’. Produced by Day Wave (Calum Hood, Pete Yorn, Olivia O’Brien) and John Hill (Cage the Elephant, Phantogram, Foals) and mixed by Lars Stalfors, ‘Exit Wounds’ was written and recorded in Los Angeles during the making of ‘If That Makes Sense’. The band’s previously released tracks “Do You Really Love Her” hit the Viral 50 Charts in both U.S and Australia and “I Never See Her” received praise from the likes of FLOOD Magazine who proclaimed, “Spacey Jane gets caught in the middle of their feelings on new high-tempo Bop.”

Rather than leftover material, ‘Exit Wounds’ offers another side of the band and the period that produced their third album.

Jimi Hendrix’s first Berkeley Community Theater show from May 1970 is presented in full running order on “Magic Boy“. The performance includes ‘Hear My Train A Comin’’, ‘Johnny B. Goode’, ‘Purple Haze’ and ‘The Star-Spangled Banner’, alongside fierce versions of ‘Fire’ and ‘Voodoo Child (Slight Return)’. Hendrix also works through developing songs ‘Ezy Ryder’ and ‘Freedom’, plus Band Of Gypsys material ‘Message To Love’ and ‘Machine Gun’, capturing a restless guitarist pushing beyond his Experience-era sound.

In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion. His frequent hurricane blasts of noise and dazzling showmanship — he could and would play behind his back and with his teeth, and set his guitar on fire — have sometimes obscured his considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and rock styles. After working as a backup guitarist in the early ’60s, he launched a solo career in 1967 with the psychedelic debut record “Are You Experienced?” The follow-ups “Axis: Bold as Love” and “Electric Ladyland” were more diffuse and experimental. Hendrix later formed the Band of Gypsys to pursue funkier directions, and recorded an erratic live album with the new lineup. Unfortunately, his career was cut short by a fatal overdose in 1970.

Fans first became aware of his Berkeley performance when two early posthumous releases featured a stunning Hear My Train A Comin’ on 1971’s “Rainbow Bridge” and his electrifying rendition of “Johnny B. Goode” on 1972’s “Hendrix: In The West“. The shambolic 1971 film Jimi Plays Berkeley stoked the fires further with extracts of “Purple Haze” and the “Star Spangled Banner”.

“Magic Boy” includes those two classics and assembles the performance in its running order for the first time. It also offers “Ezy Ryder” and “Freedom” in development before completion in the studio by the guitarist, plus “Message To Love” and “Machine Gun” from his recent “Band Of Gypsys” album, alongside “Fire” and “Voodoo Child (Slight Return)“, all newly remixed by Eddie Kramer from the original multi-track tapes.

“Magic Boy” presents Jimi Hendrix‘s legendary first show at the Berkeley Community Theater in May 1970.

Little Grandad waste little time getting to their debut album ‘Speak Softly, Son’, produced by Kev Jones of Wunderhorse. Formed little more than a year ago, the London four-piece have built their reputation through relentless gigging, and that live energy runs through the record.

Unpredictable, loose and difficult to pin down, it captures a band finding their sound in real time.

Just a few months after launching their debut tracks, the London four-piece waste no time at all, taking rare, precious days off the road to put down their debut album.

“Speak Softly, Son” is a timely approximation of where Little Grandad are at, and an excellent advertisement for those live shows. Here’s where the story really starts…

The band has made quick work of creating a buzz since forming just over a year ago. Gigging relentlessly and picking up new fans everywhere they play. It’s a story as old as time.

Their songs sound like a sort of Venn diagram of rust-belt Americana, Brooklyn-informed slacker-rock, and warm yet ramshackle British indie guitar rock. It also sounds nothing like those things. It’s chaotic, teeters on the brink of collapse, but somehow hangs together. It’s properly exciting because you can’t put your finger on what it is, and neither can they.

“Truth Or Consequence” is a live album following the concert film of the same title, in which Amyl And The Sniffers perform country-influenced versions of their songs, two unreleased tracks, and a cover of the Slim Dusty classic “Lights On The Hill“. It was recorded and filmed in front of an intimate and increasingly rowdy audience at El Coyote in Los Angeles on April 28th, 2025, by the band’s long-time collaborator, 

At least to my memory, “Every Morning,” Sugar Ray‘s second Top 3 single feels like one of those halo effect songs,“Every Morning” achieved Gold status.

Interpolating Malo’s “Suavecito,” “Every Morning” is even a bigger departure from Sugar Ray’s original funk rock/nu metal sound than “Fly” was. Like “Fly,” it incorporates scratching and other hip-hop elements. Its lead acoustic guitar part is particularly distinct, sounding like guitarist Rodney Sheppard got lost somewhere partway through it.

Australian singer-songwriter Julia Jacklin just treats it like a regular song, dropping much of what makes it distinctly ’90s. She and her band play it super conventionally. She sings the lyrics of the verse instead of the half-shouting in the original. And though the guitarist plays the riff, it’s on an electric guitar and lacks some of the original effect. There’s some chorus or similar effect on the backing vocals during the chorus to give them some of the shine from Sugar Ray’s version but they still don’t have that gloss.

There is no scratching, of course. And the Greek chorus spoken world backing vocal refrain is instead moved to the bridge where it is sung instead, almost reminiscent of the lullaby the lyrics were likely inspired by.

All in all, the changes are pretty minor, but the song feels totally different in Jacklin’s hands, removed from all the production choices that scream 1990s. Have a listen:

The Tom Waits fanbase is not entirely starved for news lately, but most of it is about Waits’s acting career. On the music side, the news is small change: something about singing on a new Pogues tribute, and similar tidbits.

Then came the announcement of “Where the Willow and the Dogwood Grow”, a star-studded tribute to the music of Tom Waits and Kathleen Brennan. OK, it’s not new original music (we’ve waited 15 years for a new Waits album) but whatever it is, we’ll take it!

The excitement gives way, on closer inspection, to disappointment: there’s nothing actually new in this new release. (“The large print giveth and the small print taketh away,” to borrow a classic Waits-as-huckster phrase.)

Each cover has been available for years–in many cases, for three or four decades. The most recent of the tracks on hand is “Hold On” by Madison Cunningham, but even that one dates back six years. It’s a killer version, by the way, a clear highlight of this compilation.

Still, having these covers compiled in one place serves a purpose, if only to help reassess the song catalogue. And realistically, the number of Waits devotees who have actually listened to all these songs is miniscule; they could fit in a single booth at an all-night diner. If a song is new to you, then it’s new music, regardless of its original release date.

The very title of the album suggests a new framing, a fresh lens: the notion that Waits’s song-writing changed when he partnered with Brennan, and their extensive and lengthy collaboration deserves its own celebration.

The album opens with Bruce Springsteen in concert in 1981 at Meadowlands in New Jersey. The location matters, because the song is “Jersey Girl.” Waits had released it the previous year, but Springsteen quickly came to own it. He cleans up the unsanitized language that Waits used; he sings his own lines here and there, which you get to do when you are the Boss. He gets help from a stadium full of Jersey girls and boys who cheer raucously on that triumphant line “Down the shore everything’s all right.”

With this opener the album breaks its own rules: “Jersey Girl” is not a Waits/Brennan composition, it was written by Waits alone. But the song is about Kathleen Brennan, who was living in New Jersey at the time they met. For all its rhapsodic “sha-la-la”-ing, the lyric correctly predicts they’d eventually marry.

From there the album runs chronologically through the couple’s songbook. We get two or three selections from each of the studio albums they released to date, from the magnificent ’80s trifecta–“Swordfishtrombone”s (‘83), “Rain Dogs” (‘85), and “Frank’s Wild Years” (‘87)–through to “Real Gone” (2004). Except that “Bone Machine” is represented by only one track, The Ramones tearing through “I Don’t Wanna Grow Up.” For some reason, “Bad as Me” (2011) gets overlooked entirely–another disappointment. Also getting a pass are the collaborations with Robert Wilson, the avant-garde director (so, no songs from “Black Rider”, “Blood Money“, or “Alice“). Treating that material separate from the rest seems like a good call.

The inclusion of Waits/Brennan songs written for other artists (or recorded first by them) invigorates the mid-section of the album. Three songs are in this “orphans” category: one is Marianne Faithful on “Strange Weather,” the title track to her 1987 album. Produced by the mercurial Hal Willner and featuring eclectic guitarist Robert Quine, it provides the most artful four minutes of music on the compilation. “Diamond in Your Mind” (2002) was written for Solomon Burke, who pours his considerable soul into the piece. Finally, Waits/Brennan wrote “Down There by the Train” for Johnny Cash, who rightly takes it as a spiritual, an “outlaw hymn” as Cash called it. These latter two songs were later recorded by Waits himself and surfaced on the three-disc “Orphans” release in 2006, where they got a bit lost in the shuffle.

“Where the Willow and the Dogwood Grow” seems well-balanced, too, in its stylistic distribution. Gut-bucket blues, tangos and other Afro-Caribbean rhythms, spoken-word pieces, gospel hymns, nursery rhymes, and sappy love ballads–Waits/Brennan explored all those modes and more.

In Waits’s opinion, his songs divide into “Brawlers, Bawlers, and Bastards,” and all are present here in strong doses. Norah Jones on “The Long Way Home” and Lucinda Williams’s “Hang Down Your Head” had me crying so hard I had to put the needle back on “Gin-Soaked Boy” by Southside Johnny to get my senses back on. For the Latin tinge that Waits embraced in the ’80s, Diana Krall slays on “Temptation,” aided by a slick band not afraid to get nasty. For the spoken-word element, how about “Jockey Full Of Bourbon” as performed by Los Lobos, complete with age-old nursery rhyme chorus.

If there’s something imbalanced about compilation, it’s that the roster skews geriatric. A few Gen X, Y, and Z artists would have added spark, and testified to Waits/Brennan’s continued relevance. Part of the issue is simple nepotism, with several of the artists being old friends of the family. David Hidalgo (Los Lobos) played on a number of Tom Waits albums. John Hammond and Southside Johnny both issued full-length Waits tribute albums in the past, with Waits becoming personally involved with both. And now here they are on the new tribute. Fair enough, I guess, but it does come at the expense of emerging artists (or anyone under the age of 50).

Springsteen brings it on “Jersey Girl” (he was 31 at the time), as does Madison Cunningham on “Hold On” (she is still in her twenties). For my money, hers is the album’s strongest track. Norah Jones in her dignified manner has a youthful vibrancy. But most of the other artists were well past their prime. There’s a reason Willie Nelson teamed with Kimmie Rhodes, and Robert Plant teamed with Alison Krauss on their contributions–they wanted youth/age balance, and that’s the kind of mix I wanted more of on “Where the Willow and the Dogwood Grow”.

Tracks

Jersey Girl – Bruce Springsteen and The E Street Band (Live at Meadowlands Arena, NJ – July 1981)
16 Shells From A Thirty-Ought-Six – Bob Seger and The Silver Bullet Band
Gin-Soaked Boy – Southside Johnny and The Asbury Jukes
Jockey Full Of Bourbon – Los Lobos
Hang Down Your Head – Lucinda Williams
Temptation – Diana Krall
Yesterday Is Here – Bettye LaVette
Way Down In The Hole – The Blind Boys Of Alabama
Strange Weather – Marianne Faithfull
I Don’t Want To Grow Up – Ramones
Down There By The Train – Johnny Cash
House Where Nobody Lives – King Ernest
Picture In A Frame – Willie Nelson
Hold On – Madison Cunningham
The Long Way Home – Norah Jones
2:19 – John Hammond
Diamond In Your Mind – Solomon Burke
Trampled Rose – Alison Kraus and Robert Plant
Day After Tomorrow – Joan Baez

Appearing on BBC Radio 1’s Live Lounge, Phoebe Bridgers played two of her new songs and included a Nirvana cover for good measure. Recorded before her appendicitis diagnosis, Bridgers played her first widely available live performance of “Bobby,” from her new album “Lost Weekend“. She also played the album’s first single, “Lost Boys.”

Bridgers then played a cover of Nirvana’s “Lithium,” from their 1991 album, “Nevermind”. The performance features just Bridgers’ voice and a guitar, making an intimate song sound even more intimate. Full video of the performance hasn’t been released yet, but the BBC has aired the audio.

While her appendicitis forced the cancellation of her UK shows, her bigger “The Lost Tour” doesn’t kick off for another month, so she may be able to make up the dates before then. “Lost Weekend”, Bridgers’ third album, was just released on August 14th.

Garage rock duo Fountain shares “It’s Ordinary,” a raw, gritty offering rooted in their signature high-energy musicality. Built around the duo’s instinctive chemistry, the track blends crunching guitar tones, driving drums and distinctive vocal delivery to create a track that feels visceral and a brimming with a sense of immediacy. 

Formed by drummer and backing vocalist Alistair Wilkinson and guitarist/vocalist Jordan Noon, the duo weaves a soundscape that’s as precise as it gritty, framing soaring instrumentals with a touch of unpredictability. A catchy offering that builds with a relentless pace that adds to the spontaneity at the core of the production, the track is cinematic, atmospheric and edgy all at once. 

Having quickly established themselves as a compelling presence within the UK’s alternative scene, Fountain continue to build on their momentum with an uncompromising passion and power-packed sonic sensibilities.