The Fat Angel Sings

Recorded as part of the same daydreaming puzzle as “Unwishing Well”, “Still Clouds at Noon” brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples’ melancholy catalogue. Donaldson names ’90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on “Still Clouds…” often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson’s lyricism. There’s an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs.

Formerly a Bandcamp only digital release, this white vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends The Lucksmiths on bass. Tour/Bandcamp exclusive, edition of 500 on black vinyl.

released July 22nd, 2024

Vancouver duo Japandroids announce their fourth and final record ‘Fate & Alcohol’ out October 18th. At once a return to form, and a thrilling step forward, this album is a monument to the chemistry they’ve honed over nearly two decades side-by-side.

Japandroids have returned with their first new album in seven years (not including 2020’s live LP) called “Fate & Alcohol“. The first single to be released from the project, “Chicago,” begins with—surprise, surprise—a flurry of guitars beneath Brian King singing of “two shots of the good stuff” and “being tired of being tired.” A bit cliché, I guess, but also, this shit rips harder than Malört. When he sang about sweating through his shirt?

“On our last record we wanted to broaden the definition of a Japandroids song and purposely left our demos quite open and malleable so that we had more flexibility to experiment in the studio,” King shared in a press statement. “At the time, this approach was new and exciting, and inspired us to be bolder, to take more chances.

We were aiming for a more cinematic take on our signature sound. This time, we made certain that every song ripped in our jam space before [producer] Jesse [Gander] ever heard it. If you listen to our first demo of ‘Chicago,’ it’s obviously much rougher than what you hear on record, but it’s all there. Even on a blown-out iPhone recording, the energy was obvious, and the feeling cut through loud and clear.”

releases October 18th, 2024

All songs written by JAPANDROIDS

Laura Jane Grace is a major figure in today’s rock scene as both a solo artist and the front person of Against Me!, which she founded in Naples, FL in the late 1990s. As a working artist, she has released four solo offerings and seven albums with Against Me!, and in 2012 went public with her gender transition in the pages of Rolling Stone. In her music, she continues to detail her journey all while staying true to her earlier themes of outspoken political critique – environmentalism along with personal and social liberation – with a base in American music including country and folk-rock, with a penchant for noise and anarchy.

“I’m Not A Cop” is taken from latest album, ‘Hole In My Head’

Eight CD Box Set include’s a massive 88 tracks and explores the era which included four Faces studio albums “First Step”, “Long Player”, “A Nod Is As Good As A Wink…To A Blind Horse”…, and “Ooh La La” as well as several solo albums that Rod Stewart recorded with most of the band “Gasoline Alley, “Every Picture Tells A Story”, “Never A Dull Moment”, and “Smiler“. 

Amongst the many rarities is a stereo mix of the May 13th, 1971, Paris Cinema concert, which was only broadcast in mono, and a February 1973 show that was never aired due to the BBC’s concerns over the band’s on-stage banter with the rowdy audience (!). All audio has been remastered with the full participation of the remaining band members Rod Stewart, Ronnie Wood and Kenney Jones.

The Blu-ray includes newly restored footage of the Faces’ April 1972 appearance on Sounds for Saturday

This large format set comes with a 48-page booklet with new commentary from surviving band members and archival quotes from Ronnie Lane, Ian McLagan, and BBC broadcaster John Peel, the latter of whom was very important, as the band acknowledge:

Rod Stewart says, “If it wasn’t for John Peel, the Faces would never have broken through”. Ronnie Wood concurs, “He gave the Faces our first break” as does Kenney Jones: “John Peel helped the Faces so much in England, in the press and on his show.” 

It is therefore appropriate that John Peel’s Christmas Carol Concert rounds out the collection. Originally broadcast on Boxing Day 1970, this unique holiday performance features Stewart singing “Away In A Manger” and a Christmas carol medley sung by a choir that includes the Faces, their roadies, John Peel, Marc Bolan of T-Rex, and others. 

​“Faces At The BBC: Complete BBC Concert & Session Recordings 1970-1973” will be released on 6th September 2024, via Rhino Records.

XTC’s 1986 album “Skylarking” is to be reissued on CD and Blu-ray and, for the first time, on 200g heavyweight vinyl through Ape House/Panegyric Records on September 27th.

The album is the second of the band’s reissues to feature a new Dolby Atmos remix from Steven Wilson (1984’s “The Big Express” was reissued last year) from the original multi-track studio master tapes.

The CD/Blu-ray also features the 2016 album mix as well as bonus album track mixes, also by Wilson and is presented in replica mini-vinyl style packaging with booklet including photos and album lyrics. The vinyl version comes presented in a gatefold sleeve with lyrics inside and features the 2016 Steven Wilson mix.

“Skylarking” was recorded by Andy Partridge, Colin Moulding and Dave Gregory with Tubes member Prairie Prince filling in on drums, and was a concept album of sorts, about a nonspecific cycle, such as a day, a year, the seasons, or a life.the album was produced by Todd Rundgren. Rumours of tension between Partridge and Rundgren were rife.

The album’s major hit, “Dear God“, was originally left off the album, forcing Geffen Records to pull the original and reissue the album with the track included. The 2010 reissue featured Partidge’s original idea for the album sleeve.

With the release of Cigarettes After Sex’s third album, “X’s“, the band finally takes center stage as not just one of today’s preeminent indie bands, but as one of the most globally accomplished acts across any genre. Filled with raw, imagistic, sometimes smutty vignettes set to entrancing, slow burn pop songs, bandleader Greg Gonzalez captures every emotion a romantic arc inspires.

The Modern indie pioneers Cigarettes After Sex return with their third album, pivoting from their former 50’s and 60’s influences to pop touchstones 70’s and 80’s. Over these burgeoning, dark melodies lead vocalist and bandleader Greg Gonzalez focuses on one relationship, purging his feelings with brutal intensity. 

Soaring slo-mo balladry and shimmering ambient washes beneath the echoic guitar melodies and Gonzalez’ always haunting vocal syrup. It’s as enchanting and ethereal as ever, and will no doubt be a big hit like everything else they’ve done. A beautifully rich, decadent return for Cigarettes After Sex.

The Dream Machine return with a focused version of their kaleidoscopic, \’60s organ-infused aural ecstasy. Produced by The Coral‘s James Skelly, the album’s heightened musicianship and tighter track lengths are matched by Zak McDonnell‘s matured lyricism, spanning adolescent life in modern Britain, unrequited love, and escaping small-town ennui.

Bold, inventive psychedelic indie that clearly draws influence from the North West’s rich musical heritage, and displays that influence without ever sounding like a pastiche. Crisp, full of warmly familiar melodies and brilliantly conceived harmonies.

“Beachwood Sparks pioneered the indie-country genre, pushing Americana into experimental territories with their fusion of twangy country vibes and psychedelic sounds. Their unique niche in the indie music landscape is marked by ethereal melodies and introspective lyrics, influencing countless artists and shaping the “weirder” side of Americana music.

Their albums “Beachwood Sparks”, “Once We Were Trees” and “The Tarnished Gold“, released under Sub Pop Records, have earned widespread critical acclaim. In 2024, Beachwood Sparks make a triumphant return with “Across The River Of Stars“, produced by Chris Robinson (Black Crowes). After a hiatus, they not only deliver new tunes but also grace the live stage once again.”

Their first official album in twelve years, and fourth overall, “Across The River Of Stars” finds the revived alt-country band Beachwood Sparks in sublime form. Produced by The Black Crowes’ Chris Robinson, it’s a nine-track journey of cosmic reflection and psychedelic pop, driven by soft and intricate performances throughout reminiscent of some of The Byrds’ or Wilco’s finest works.

It’s midway through ‘Land: Horses/Land of A Thousand Dances’ that it becomes crystal clear: Patti Smith is one of the world’s greatest living rock star’s. Furiously flailing across the storied stage in her trademark monochrome Ann Demeulemeester outfit and imploring us to do the watusi, her mighty howl fills the room; hard and heroic, tough and tender and impossible not to be moved by, physically as well as emotionally.

For half a century Patti Smith has been a byword for a deeply American kind of cool. The mere mention of her name conjures up images of grubby Manhattan sidewalks, of beatniks and blues, of poetry and punk. And yet, to see her in such a deeply small sizes venue doesn’t jar at all – in fact she’s an ideal fit for such an illustrious rooms. Opening with the unaccompanied spoken word of ‘Piss Factory’ to pin-drop silence, the audience – many of whom have had tickets for this rescheduled show for the past two years – are in the palm of her hand from the word go.

Joined by her son Jackson on guitar and her daughter Jesse on keyboards, The shows are a family affair and we get a sweet peek at their cosy interaction when Patti announces Jesse’s arrival onstage. “My daughter,” says Patti with a giggle as Jesse whispers something in her ear. “She’s telling me my hair looks nice.” The band then blast into a glorious version of ‘Redondo Beach’, which Patti dedicates to the late Lee ‘Scratch’ Perry. “Goodbye Mr Lee,” she calls out over the 1975 track’s punky reggae bounce.

It’s not the only tribute of the night, as guitarist Lenny Kaye leads a pleasantly scrappy version of The Rolling Stones’ ‘I’m Free’ in memory of Charlie Watts. An impeccable interpreter of other people’s work, Patti also coos her way through a stripped-back take on Bob Dylan’s ‘One Too Many Mornings’, introducing the song by telling the rapt crowd about how she fell in love with it 60-odd years ago.

You can see the years whizzing past her eyes as she does so, coming to terms with just how long ago that was in real time. “Nevermind,’ she sighs with a shrug and a smirk. Buddy Holly’s ‘Not Fade Away’ and of course her rule-book ripping version of Van Morrison’s ‘Gloria’ also get a look-in, but it’s the elegiac ‘Pissing In A River’ from her 1976 album ‘Radio Ethiopia’ that is the night’s stand out. Almost heavy metal in its intensity, her hardcore growl nearly takes the roof off the room, passionate, poetic and perfectly Patti Smith.

Patti Smith played:

‘Piss Factory’, ‘Free Money’, ‘Grateful’ ‘Redondo Beach’ ‘My Blakean Year’ ‘Dancing Barefoot’ ‘Blame It on the Sun’ (Stevie Wonder cover) ‘Beneath the Southern Cross’ ‘I’m Free’ (The Rolling Stones cover) ‘Walk on the Wild Side’ (Lou Reed cover) ‘Ain’t it Strange’ ‘One Too Many Mornings’ (Bob Dylan cover) ‘Pissing in a River’ ‘Land’ ‘Gloria’ (Them cover) ‘People Have The Power’ ‘Not Fade Away’ (The Crickets cover)

Over the past 8 years, Little Image (Jackson Simmons, vocals/guitar, Brandon Walters, bass/synth and Troy Bruner, drums) morphed from a group of perpetually online suburban teens who were obsessed with underground indie rock into the tight-knit outfit you see today. While many young artists had their careers derailed in 2020 due to COVID, it actually managed to save little image, who were gearing up to announce themselves to the world without realizing they needed more time for reflection and creativity.  That extra time allowed the band to fully expand on the promise of their early singles “Worth It” and “EGgo” exploring different ways to create a pop-rock song beyond the basic guitar/bass/drums template.

This new burst of creativity led to not just a collection of songs but an actual album, deliberately sequenced to tell a story of self-doubt, self-reflection and eventually, self-love that little image hopes will connect with people across the globe.  Kicking off their new music is the M83-esque indie-dance number “Lungs Burn,” a diamond in a sea of gems.

little image – STRANGE FRIENDS