The Fat Angel Sings

The group’s entire Atlantic Records output 1965-1971. 152 carefully remastered tracks across seven compact discs. The first four albums presented in both stereo and mono, along with significant single edits and foreign language versions. For the first time on any Rascals re-issue, 14 previously unreleased tracks. 60-page booklet with detailed notes and rare illustrations from The Rascals Archives.

In the mid-1960s, the Rascals fused the best of rock and soul with memorable hits like ‘Good Lovin’’ and ‘I Ain’t Gonna Eat Out My Heart Anymore”, and they remain the most beloved of acts of that era. The electrifying quartet of Felix Cavaliere, Eddie Brigati, Gene Cornish and Dino Danelli defined the term blue-eyed soul. As the hits mounted up, the group expanded their musical horizons and revealed a powerful songcraft with introspective originals ‘Groovin’ and ‘How Can I Be Sure,’ future standards both. And their 1968 smashes ‘A Beautiful Morning’ and ‘People Got To Be Free’ remain among the greatest celebrations of peace and harmony ever cut to disc.

Although the Rascals are principally remembered for their singles, their albums were also studded with gems, and showcased not just their signature rock and R&B styles but also a progressive exploration of jazz, Eastern modes, psychedelia and other diverse styles.

This set presents the full complement of their cornerstone Atlantic recordings, featuring the band’s seven LPs for the label —the first four in both mono and stereo variations—along with assorted non-LP singles, foreign language versions and, for the very first time on a Rascals reissue, 14 previously unreleased tracks.

‘It’s Wonderful’ is the definitive compendium of the group’s first five years 1965-1970, charting their growth from New York club band to international superstars. Compiled and suitably remastered by Alec Palao, this major refurbishment of their catalogue leaves no stone unturned. A nearly 10,000-word essay by Richie Unterberger provides an in-depth account of their career, and is supplanted by an extensive session history and copious illustrations from the Rascals Archives. All housed in a deluxe, handsomely appointed box art directed and designed by Steve Stanley.

Why Bonnie – the New York-based project of Blair Howerton – have announced their signing to Fire Talk Records with a new song, ‘Dotted Line’. The track arrives with a music video co-directed by Howerton and Grace Pendleton.

Howerton wrote ‘Dotted Line’ during a period when she was “broke as hell” and experiencing “the weight of capitalism,” she explained in a press release. “I was thinking of all the things we’re told are markers of success, and how at this rate, I’ll probably never have any of them.”

‘Dotted Line’ marks the band’s first new music since their 2022 album “90 in November”. 

“Spell Blanket – Collected Demos 2006-2009” is a collection of thirty-six demos and rough material that would have gone on to form Broadcast’s fifth studio album, which of course never came to pass due to the sudden death of singer Trish Keenan in 2011. Sourced from Keenan’s archives of MiniDisc recordings and four-track tapes by bassist James Cargill, it’s an incredible insight into the creative processes of one of England’s most severely underrated bands.

Also due “Distant Call”, In contrast to “Spell Blanket”, is a collection of early demos of songs that would subsequently appear as finished productions on the albums “Haha Sound”, “Tender Buttons” and “The Future Crayon”. 

“Distant Call” is a closing of the door on Broadcast and will be the last release from the band. Available September 28th

“Spell Blanket – Collected Demos 2006-2009”, out now via Warp Records.

Jessica Pratt is releasing a new album, “Here in the Pitch”, on May 3rd via Mexican Summer. Pratt has shared the album’s second single, “World on a String,” via a music video. Fellow musician Kate Bollinger directed the song’s video. A number of previously unexplored influences infiltrate Jessica Pratt’s folk song writing, including wall-of-sound 60s pop, bossa nova, and psychedelia.

On her first full-length since 2019, Pratt takes the reverb-drenched sounds of 1960s recordings and twists and fine-tunes them into new shapes. The minimalist majesty and spaciousness of previous releases remain, but there’s a noirish lens at play in both the songwriting and production, as if the they were decades-old tracks plucked from a cellar in the hills of the U.S. West Coast.

A lush, dreamy collection that we reckon is easily her finest work to date.

“On this track I was influenced by the swaying, naive brilliance of ‘lost’ teenage garage rock bands, as well as enduring loves like The Nazz and Guided By Voices,” Pratt says in a press release. “Record the song moments after you’ve learned it on an instrument you’ve just picked up. Oftentimes, that’s all you need.”

Bollinger had this to say about the video: “Making this video with Jessica was a dream art project. We emailed for days, eventually landing on a mondo style march-of-the-pagan village meets field of freaks. We brought in many friends from Los Angeles: two DPs, 20 cast members, and a production designer. It was a big group effort and a day I’ll always remember.”

Previously Pratt shared the album’s first single, “Life Is,” .

“Here in the Pitch” is the follow-up to 2019’s “Quiet Signs”. The Los Angeles-based musician once again recorded at Gary’s Electric Studio in Brooklyn. She worked with previous collaborators, multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott. Bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) also took part in the sessions. Ryley Walker, Peter Mudge (Mac Miller, J.I.D.), and Alex Goldberg all also contributed to the album.

“I became obsessed with figures emblematic of the dark side of the Californian dream while making this record,” Pratt said of “Here in the Pitch” in a previous press release.

Pratt recorded the album over a three-year period, from 2020 to 2023. Of the five-year gap between albums, she said: “I never wanted it to take this long. I’m just a real perfectionist. I was just trying to get the right feeling, and it takes a long time to do that.”

The previous press release compared the album’s first single, and opening track, “Life Is,” to The Walker Brothers’ 1960s orchestral pop classic “The Sun Ain’t Gonna Shine Anymore,” but Pratt warned it’s not exactly representative of the album as a whole, which is starker.

“In a way, it’s kind of a false flag,” Pratt admitted. “But I also feel like it’s a statement of intention.”

the album “Here in the Pitch”, out May 3rd, 2024 on Mexican Summer/City Slang

New York pop savants Charly Bliss want their new album “Forever” to crush you under the weight of pure feeling. They want to sweep you up in a hurricane of heartbreak. They want you to pour your soul out singing along at their shows and alone in your bedroom. In short, says singer Eva Hendricks, they want to destroy you…but in a fun way. 

Produced by Jake Luppen (Hippo Campus) and Caleb Wright (Samia) along with the band’s Sam Hendricks, “Forever”  follows five years after their critically acclaimed 2019 album “Young Enough“.

When we began writing “Forever”, Sam had just discovered he was going to be a father and Eva didn’t know she was about to relocate her entire life to Australia. Since then, all of our lives have been rearranged a thousand times over. We’ve fallen in and out of love, moved apartments, swapped coasts and continents, planned weddings, welcomed babies, applied for visas, and filled many antidepressant prescriptions.

Full of the band’s biggest, brightest batch of power pop yet “Forever” crams a lifetime of feeling, decades of friendship, and years of craft into a batch of sonically tight but emotionally vast songs that activate the pleasure centres in your brain whether you’re listening alone in your headphones or in a packed room at a live show. The songs shimmer and burst, the way fireworks look like they should sound.

Charly Bliss is back with their signature power-pop panache, albeit with a slight twist on their new single, “I Need A New Boyfriend.” Conjuring the zeitgeisty, sugarcoated delivery of groups like 100 Gecs and the How I’m Feeling Now milieu of the other Charli, “I Need A New Boyfriend” is an enthralling new step for the consistently great Brooklynites.

All this nonstop change has made it profoundly clear what is permanent; and for all four of us, the through line is Charly Bliss. This album is head over heels, overflowing with romantic love and friend love and crushes and hurricanes of big feeling.

Damn our Album is out. It’s our fifth record and it’s called “Hovvdy”. we’ve been a band for a bit and this one feels different. Thanks if you’ve been around for a long time and thanks if this is post #1. It’s never too late. The sounds and looks wouldn’t exist without Sarlo, Ben and Adam. Special thanks to Aubrey. There’s lots more to say but for now let’s just have some fun out there.

Hovvdy’s self-titled double album, co-produced with Andrew Sarlo (Big Thief, Bon Iver) and long time collaborator Ben Littlejohn, is their most cohesive and ambitious record to date: The definitive Hovvdy album. Across the 19 track sequence ranging from expansive celebratory anthems to quiet acoustic meditations, Hovvdy displays deft and catchy pop songcraft with touches of indie folk and southern Americana.

 A delight from end to end, the particular hazy, melded sound Hovvdy bring is smooth, moving and rich.

released April 26th, 2024

Co-produced by Andrew Sarlo, Charlie Martin, Will Taylor, Bennett Littlejohn
Performed by Charlie Martin, Will Taylor, Bennett Littlejohn, Andrew Sarlo

It took mere months, following the death of Ian Curtis in May 1980, for Joy Division’s Bernard Sumner, Peter Hook and Stephen Morris to regroup, with a new name – New Order – a new member, Gillian Gilbert, and a new set of songs. In this new (re)incarnation they bestrode the 80s like a colossus, propelled by new ideas and newer technology.

By the time New Order released this, their fifth album, they were already the masters of fusing post-punk guitars with the beats they picked up in clubs around the world. In some respects, then, ‘Technique’, was business as usual from Sumner, Hook and co. But rather than looking to the warehouses of New York or German synthrock, they turned to Ibiza for inspiration, and the club nights where they heard Acid house alongside novelty pop, Queen and homegrown Spanish tunes.

The resulting album, partly recorded on the island at Peter Hook’s insistence after a series of records made in dark, London basements, is the sound of a band leaving behind their old selves to tread new ground and move beyond the confines of what a four-or-five piece guitar band could achieve.

This is the album that New Order recorded in Ibiza. Obviously, it bears the mark of some of the island’s chemical distractions. ‘Fine Time’, ‘Mr Disco’ and ‘Round & Round’ feature electronic percussion, heady four AM atmospheres and synth experimentation – though the latter count is more in the realm of “electronic sheep baa’s” and “orchestra stabs” than Delia Derbyshire-esque gauntlet-pushing.

Although ‘Technique’ is widely known as the Ibiza album, it’s more indie-disco than Balearic rave. This is fast and exciting music positioned somewhere between Felt and David Bowie’s ‘Berlin’ trilogy. It has Bernard Sumner’s trademark off-key sing-song vocals and includes two of New Order’s greatest achievements in ‘Fine Time’ and ‘All the Way’. ‘Technique’ is the honeymoon period in New Order’s stormy marriage of dance and rock.

While the other great Manchester album of 1989, The Stone Roses is credited with ushering in Madchester, ‘Technique’ was no less influential, and 35 years on sounds as fresh and vital as it ever did. It’s a short record too, its brevity part of its brilliance. Don’t pick one or two songs to listen to, dive right in to the whole thing.

As the post-punk dust began to settle, a particular strand of artist began applying a knowingly distant, colder aesthetic to their work. While much of the scene began to be dominated by bigger budget, commercially minded former punk and new wave acts, a darker undercurrent did survive, often more interesting, more dangerous and sexier than anything that could be heard on Top Of The Pops at the time. The first generation of the darkwave movement consisted of bands that were equally influenced by the fractured drama of Depeche Mode, Siouxsie & the Banshees and The Cure as they were by the art damaged experimentation of Cabaret Voltaire, Wire and Throbbing Gristle, always rich in Gothic spirt, societal displacement, urban isolation and sexual energy.

‘No Songs Tomorrow’ collects together the true progenitors and risk takers of this Venn diagram scene, each of whom set forth in uncharted territory in the post-punk minefield, expressing parts of themselves others dare not in the truest and darkest of fashions. From familiar names to underground gems and collectables, and painting with a broad international palette, this might be considered a companion piece to several of our previous offerings, ‘Silhouettes And Statues’, ‘Close to The Noise Floor’, ‘Still In A Dream’ and ‘Cherry Stars Collide’ among them.

We recommend late night listening, either home alone or dripping with sweat on a rotting dancefloor.

Nilufer Yanya just announced that she’s signed to Ninja Tune and there’s a new single to go along with the news. I’m liking the 90s-lean that’s on display here.

Nilüfer Yanya returns with her new single and music video “Like I Say (I runaway).” This offering is her first new music since the release of her celebrated 2022 album “Painless” and announces her signing to Ninja Tune. The new single is a glowing example of Yanya’s authenticity and innate creativity that effortlessly flows from pen to paper and is a first taste of more music to come. 

“Like I Say (I runaway)” comes alongside a music video directed by Yanya’s sister Molly Daniel that features Nilüfer as a runaway bride. The song highlights chunky, distorted guitar crunches under a chorus loosely reminiscent of 90’s alternative radio. The single focuses on the moment when you realise how precious time is. Speaking more about the single’s thesis Nilüfer shares, “It’s about how you choose to spend your time. Time is like a currency, every moment. You’re never going to get it back. It’s quite an overwhelming thing to realise.” 

The new single was written in collaboration with Yanya’s creative partner, Wilma Archer (Sudan Archives, MF DOOM, Celeste), with whom she’s previously collaborated on “Painless” and her debut album “Miss Universe“. Throughout their creative process, a clear emphasis was placed on forming a safe musical space where creative impulses were encouraged and all perceived musical boundaries were eroded. This same process is reflected in the song’s lyrics, which emphasise unrestricted artistry and standing firm in one’s truest self as Yanya attempts to make sense of the world around her. 

Singer-songwriter and two-time Grammy winner Delilah Montagu shares “Orange,” a patiently unfolding benediction that finds peace and closure in a mismatched relationship. As the song’s gentle momentum builds, Delilah recounts a flood of memories — odd tattoos, magical pets, the colour preferences of parents — with poetic economy and a generous, empathetic delivery. It’s that rare beast: a gracious breakup song.

Says Delilah: “I wrote ‘Orange’ about my first love. Loving someone but also understanding that you can’t exist in each other’s worlds is a painful realization, and I tried to put it into a song. ‘I was a bird, and you were a fish, we couldn’t breathe together like this.’ The song is also about reassuring the person that even though you don’t ever talk, you’re always thinking of them with love and that they will always be with you everywhere you go.”

Created by Delilah alongside director and artist Peter Cerrito, the “Orange” music video captures the uncomfortable intimacy of a breakup — as well as that feeling of freedom and expanding horizons that comes when you allow yourself to be vulnerable and share your true feelings.

“Orange” appears on Delilah’s new EP entitled “The Bird”, due out June 14th. The first in a series of upcoming releases, “The Bird” showcases Delilah’s pairing of vulnerable reckonings and symphonic, sumptuous soundworlds.