The Fat Angel Sings

In both its musical and visual identity, Michelle Zauner took the baroque-pop influences behind her latest album quite seriously. Days before announcing “For Melancholy Brunettes (& sad women)”, she posted a selection of paintings of women looking melancholic before revealing the memento mori-inspired cover of her fourth album, picturing her passed out on a table. She liked the idea of being on the cover without having her face featured, she told Vault Magazine, elaborating: “I wanted it to feel like a painting or still life and then have the set design and props all correspond to a symbolic meaning. There’s obviously the skull, which is memento mori; I think a lot of this record is kind of about contemplating mortality. There are oysters, which are a nod to the Venus in a Shell in “Orlando in Love”, and honey water and a milky broth, both track titles.

There is a bowl of guts, which I referenced in “Here is Someone“, and there’s a vase of flowers, which I referenced in “Winter in LA“. So, all the objects on the table are nods to different lyrics. I wanted to emulate these myths or presuppositions of what certain things are supposed to stand for in still-life paintings. I also think it can be interpreted that there’s just a wealth of goods in front of me, and somehow, it’s still overwhelming and exhausting.”

After a decade making the most of improvised recording spaces set in warehouses, trailers and lofts, Japanese Breakfast’s fourth album, “For Melancholy Brunettes (& sad women)”, marks the band’s first proper studio release.

The record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor “Jubilee” to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel.

Having previously released an EP and a few singles, London group Heartworms are finally putting out their debut album, which like everything else they’ve made so far, was produced by Dan Carey who runs their label, Speedy Wunderground. First single “Warplane” sounds like a million bucks, danceable modern post-punk with a Wagnerian sense of drama that also highlights bandleader Jojo Orme’s interest in military history.

Formidable South London auteur Heartworms released her highly anticipated debut album “Glutton For Punishment” – out 7th February on Speedy Wunderground. 
    
“Glutton For Punishment” combines the propulsive, motorik tendencies of gothic stalwarts Depeche Mode, with the lyrical dexterity of PJ Harvey, and the off-kilter rhythms of LCD Soundsystem into a powerful sonic onslaught that is entirely Heartworms. “With my EP, people kind of pigeonholed me into post-punk,” she says. “I was like, ‘Cool, I can do that, but I can also do way more’ – I can do post-punk, but I can also be poppy and catchy, and this album represents that. I think people might be surprised when they hear it.”

Heartworms’ debut EP “A Comforting Notion” was subject to critical acclaim from the likes of The Sunday Times, Dazed, The FADER, The Quietus, Loud And Quiet, The Line Of Best Fit, So Young Magazine, and many more. The EPs singles were added to the BBC Radio 6 Music playlist following widespread support across the station, as well as spot plays from Radio X’s John Kennedy, and BBC Radio 1’s Jack Saunders and Gemma Bradley. 

Earlier this year Heartworms supported The Kills in the US, St Vincent in the UK (which included the Royal Albert Hall), and Jack White at London’s Islington Assembly Hall. She also played her biggest headline show to date at a sold out Village Underground in November last year. 

Things I said to myself in the first 15 minutes of encountering this band, their album art and promo image, and the first few tracks: “Is this a metal band?” “Oh! No, this is synth pop.”
“Wait, nope, listen to those guitars, this is an indie rock band.” “Wait I think this is actually a post-punk band in disguise!”
“Ooh, it’s not a band at all, it’s one woman [whose name is Jojo Orme] doing everything!”
“This is a debut!??” The album’s quite a ride, and I highly recommend it. Highlights: “Warplanes,” “Jacked,” “Mad Catch”

The concept tying together every last note and lyric of ‘Earth-Sized Worlds’ – the debut album from the London/Oxford self-dubbed ‘Flowerkraut’ collective Mandrake Handshake – is an awfully simple one: ‘Welcome to Space Beach’. A mantra to unite under one aesthetic roof the various creative compulsions of this complex, multi-limbed organism – varying at any one time between 7 to 10 members – it’s an album that conspires the alienating vastness of the cosmos against the warm nostalgias of home.

Full of surprise, leftfield turns and closeted experimentations, tape- soaked Brazilian Sambas morphs into Kosmische Kraturock crusades, and shimmering avant-pop electronics melt into sweetened psychedelic bliss… “Welcome to the Spacebeach” – the new era of the Mandrake. Here, where the sea joins the sky, and where the trees touch the stars and where we will have you stay a while”.

With news of their biggest UK headline show to date at London’s No90 (Hackney Wick) on February 28th next year, Mandrake Handshake are certainly firing on all cylinders as their debut album release draws ever closer. Having already showcased lead singles ‘Charlie’s Comet’, ‘King Cnut’ and ‘The Change And The Changing’ as they experiment further with their eccentric brand of ‘Flowerkraut’: a hedonistic, brain-frying feast of krautrock, art-pop and psychedelia.

Varying anywhere between 7-10 members – including a dedicated, flamboyant tambourine shaker – their pristine, multi-limbed spectacle of a live show has journeyed up and down the UK and EU in recent times. With multiple headline tours to their name, including a sold-out show at London’s iconic 100 Club and headline slot on the BBC Introducing stage at Truck Festival earlier this year, the group have already ticked off slots at the likes of Wide Awake, Green Man and Manchester Psych Fest, as well as shows with psych-figureheads W.H Lung, Pale Blue Eyes, Triptides and Sugar Candy Mountain, and will embark on a UK tour supporting Del Amitri in December as their profile continues to soar.

With two critically acclaimed EPs already to their name – ‘Shake The Hand That Feeds You’ (released via Nice Swan Records) and ‘The Triple Point of Water’ – Mandrake Handshake’s long list of press champions includes The Independent, The i, NME, Loud & Quiet, Dork, DIY, So Young, The Line Of Best Fit, Rough Trade, Clash, Crackand Guitar World, as well as extensive BBC 6 Music (Deb Grant, Don Letts, Gideon Coe), Radio X (John Kennedy) airplay, and being crowned BBC Introducing Oxford/Buckinghamshire’s Band of the Year.

‘Hypersonic Super-Asterid’ released 4th February via TipTop Recordings

“Metalhorse” is Billy Nomates’ third studio release, following 2023’s critically acclaimed “CACTI” and her self-titled 2020 debut. A concept album revolving around the image of a dilapidated funfair, representing the tumultuousness of life—risk and pleasure, danger and exhilaration.

On album three the whip-tongued Billy Nomates departs the urban sonics of previous records in favour of a warmer, piano-driven approach.

The 11 new songs here explore blues, folk, and piano-driven arrangements that take Billy Nomates’ stark punk sound in a more pastoral direction. “Metalhorse” is the first Billy Nomates album to be made in a studio and with a full band, the line-up including bass player Mandy Clarke (KT Tunstall, The Go! Team) and drummer Liam Chapman (Rozi Plain, BMX Bandits), plus a special feature from The Stranglers frontman Hugh Cornwell on “Dark Horse Friend.”

“Metalhorse” is a balancing of extremes. Reckoning with loss, material insecurity, and trying to stay true to yourself against an increasingly unpredictable backdrop of global chaos, the scales could easily have tipped towards darkness. But the more Maries has had to weather, the more precious those smaller moments of happiness have become.

“Metalhorse” begs the listener to find their own funfair; there will always be things that feel perilous. At the same time, you have to marvel at the lights while they’re still on. Dancing with those feelings of uncertainty and joy, “Metalhorse” is awash with both pain and perseverance.

Tor Maries has returned with her third album as Billy Nomates,  The follow-up to 2023’s “CACTI” was once again co-produced with James Trevascus. Joyful and persistent, it’s described by Maries as a concept record. “Whether it’s real or not is up to the listener, but to me “Metalhorse” is this crumbling fairground where some rides are nice to get on and some rides aren’t,” Maries explained. “That’s how life felt for a minute, and it still feels like that a bit now.” She added, “From the second I started working on this album, every other month has brought this massive life shift that has either been weirdly magical and brilliant, or quite the opposite. What I’m really looking for, now, is something in between.”

“Good Evening Boys & Girls” is the most comprehensive attempt yet to bottle the lightning that was The Sensational Alex Harvey Band live. Gathering 16 previously unreleased performances, this set traces the group from the Marquee in 1973 through the band’s final run with the original line-up. It’s a tour through ballrooms, city halls, theatres and festivals – London, Newcastle, Glasgow, New York, Berlin, Reading – and the famous Glasgow Apollo Christmas Show of 1975, long spoken of in fan circles, now finally unearthed.

Much of what’s here comes straight from the source: soundboard and radio recordings, remastered with care by Pete Reynolds (Mott The Hoople, Fleetwood Mac, Wishbone Ash) to preserve bite and atmosphere. You hear the band as the crew and punters heard them – gritty, elastic, unpredictable, and completely themselves. 

This is SAHB without varnish, and that’s exactly how it should be.

There was never another band like The Sensational Alex Harvey Band. They didn’t just play shows – they made every venue feel like their territory, told stories, cracked jokes, and then tore the roof off the place. Scotland has produced its share of musical legends, but SAHB remain something rarer still: a band whose myth came from the stage, night after night, sweat and swagger and steel-toe precision. “Good Evening Boys & Girls” is the most comprehensive attempt yet to bottle that lightning.

Sensational Alex Harvey Band. They didn’t just play shows—they made every venue feel like their territory, told stories, cracked jokes, and then tore the roof off the place. Scotland has produced its share of musical legends, but SAHB remain something rarer still: a band whose myth came from the stage, night after night, sweat and swagger and steel-toe precision.

Much of what’s here comes straight from the source: soundboard and radio recordings, remastered with care by Pete Reynolds (Mott The Hoople, Fleetwood Mac, Wishbone Ash) to preserve their bite and atmosphere. You hear the band as the crew and punters heard them—gritty, elastic, unpredictable, and completely themselves. This is SAHB without varnish, and that’s exactly how it should be.

The box also digs into the story behind the noise. A 144-page hardback book tells the tale with unseen and rare photographs from Ian Dickson, Barry Plummer, Janet Macoska, Steve Emberton, Dick Barnatt, Michael Putland, Kevin Cummins and more, accompanied by new notes from longtime Harvey historian Martin Kielty. Much of the memorabilia—posters, passes, scraps, treasures—comes from Ted McKenna’s private archive and the remarkable collection of Martin Davies, offering a glimpse into the working life of a band that lived as hard as it played.

A replica Glasgow Apollo programme and a signed photograph from Zal Cleminson and Chris Glen complete the set—fittingly, since the box was made with the full cooperation of Zal Cleminson, Chris Glen, and sonic architect Dave Batchelor and the estates of Alex, Ted, and Hugh McKenna.

A comprehensive 21 CD boxset of concert performances from the Scottish legends, includes 144-page hardback book, rare memorabilia, signed band photo, replica programme + more Released on 10th April 2026 on Madfish Music

The Tom Petty Estate today announces the surprise release of a vinyl store exclusive in stormy “Cool Blue.” This mottled version of “The Live Anthology – From The Vaults Vol. 1” is an ultra-limited edition pressing and a special treat for fans with tracks chosen by the man himself.

A total of just 2,000 individually numbered copies will be made available; These recordings capture an intimate and powerful portrait of Tom Petty & The Heartbreakers legendary onstage performances featuring a dynamic deep track set list featuring “Like A Diamond,” “Think About Me,” and “Ballad of Easy Rider” and more.

Tom’s personally curated disc was originally included as the final bonus disc in a limited edition 5CD box of “The Live Anthology” (a 2009 Best Buy–exclusive) and has never before been available as a standalone vinyl release.

Over his 40-year career, Tom Petty became a beloved American rock & roll icon, world renowned for his songwriting and his incredible band the Heartbreakers. In addition to the 13 studio albums he made with the Heartbreakers, Petty recorded three solo albums, including the acclaimed “Full Moon Fever”, “Wildflowers”, and “Highway Companion”. Petty was also a member of the supergroup Traveling Wilburys and in the pre-Heartbreakers band Mudcrutch.

Hailed as one of the greatest rock music artists of all time, Petty’s honours include Songwriters Hall of Fame, Rock & Roll Hall of Fame, and multiple Grammy Awards. He has sold over 85 million records, amassed over five billion streams, and performed to over 140 million fans worldwide. Widely recognized and remembered for his philanthropy and service, Petty is the recipient of some of the highest honours in philanthropy including Midnight Mission’s Golden Heart Award in 2011, and MusicCares “Person of the Year” in 2017.

The Petty Estate aims to extend the late artist’s legacy, both musically and in spirit, by supporting philanthropic and social issues that were close to Petty’s heart. Earlier this year the Estate provided financial support to 10 families in partnership with GoFundMe, as well as MusiCares and Healthcare for Homeless Animals in the aftermath of the Los Angeles Wildfires. Additionally, the Estate was a sponsor for this year’s NYC Pride as well as LGBTQIA+ nonprofit youth organization It Gets Better.

Tom Petty passed away in 2017 shortly after completing his 40th anniversary tour, leaving behind a massive archive of unreleased material. His music continues to reach fans, both new and old, around the world today.

Never before released on vinyl, this live collection comes to record stores as part of RSD Black Friday in a foil stamped, numbered package, pressed on Turquoise Blue vinyl. Limited to 11,000 Copies worldwide. In 2009, Tom Petty and the Heartbreakers released “The Live Anthology“, a box set of live material that encompassed the band’s career up to that point. With a track list curated by Tom Petty himself, the release became an instant fan favourite. A very limited edition format was also released that included a bonus CD with 14 additional tracks featuring Petty classics, rarities and cover versions. These 14 tracks are now released on vinyl for the first time.

Meat Puppets’ sound had evolved significantly by the time they reached this commercial pinnacle of an eighth studio album (it went gold in only a few months after its release). When the Arizona band started out in the early 80s, they were one of the coolest hardcore punk bands and were signed to SST Records, the record label that anyone worth their salt in the 80s punk rock scene would be all over.

The likes of Kurt Cobain and Dave Grohl were big fans of bands from the roster, with Kurt Cobain seeing Meat Puppets open for Black Flag and a few years – and a few million record sales – later, he invited them to be guest guitarists at his MTV Unplugged appearance with Nirvana. This album came out just a few months after that appearance and the publicity it gave made this record, which was produced by Butthole Surfers guitarist Paul Leary, their most commercially successful to date.

Their sound blends psychedelia and country in with their punk rock DNA making for relatively easy listening experience with thought-provoking lyrics and melodies that stick. The single ‘Backwater’ is like a slower, gloomier Green Day and its commercial nature really drove sales. For the Nirvana fans among you, there’s a hidden track updated version of ‘Lake Of Fire’ that Nirvana and Meat Puppets performed Unplugged.

Meat Puppets might not be as readily referred to as the Seattle scene grunge bands but this Arizona lot are sonically kindred sin and are truly remarkable.

American rock band Alice in Chains has released six studio albums, three extended plays (EP), three live albums, Alice in Chains was formed in 1987 by guitarist Jerry Cantrell and drummer Sean Kinney, who then recruited bassist Mike Starr and singer Layne Staley. The band was first formed in 1987. The group hails from the area of  Seattle, Washington. Guitarist-vocalist Jerry Cantrell and the late Layne Staley achieved enormous success without compromising anything, and the band have continued to write fantastic songs in the post-reunion years of the 2010s to now.

Facelift

The band were signed to Columbia Records in 1989 and released its first EP, “We Die Young”, in July 1990. Alice in Chains both epitomized the solemn, heavy Seattle sound of the 1990s and stood apart from the grunge hordes. What separated Alice in Chains from their alt-rock brethren was how their roots lay in heavy metal, not punk. Guitarist Jerry Cantrell and vocalist Layne Staley had both played in metal bands prior to the formation of Alice in Chains.

They released the band’s debut, “Facelift”, in 1990, well before Nirvana’s Nevermind pushed the underground into the mainstream. Despite their connections to metal, Alice in Chains thrived in the glory days of grunge, and it wasn’t merely a question of timing, either. The band’s sensibility fit into the alternative rock zeitgeist of the early ’90s. Cantrell’s gloomy, minor-key riffs were an ideal match for Staley’s tortured lyrics, creating a sound that felt as heavy as their Seattle cohorts but also was slightly slicker and ready for radio. It was versatile, too. After the group scored rock radio and MTV hits with “Man in the Box” and “Would?” in the early days of grunge, eventually “Facelift” achieved double Platinum sales .

This Grammy-winning hit from “Facelift” features Staley’s most recognizable vocal part, a wordless howl that weaves itself into the main guitar riff in a way that’s tremendously catchy. Staley said that he wrote the lyrics about the idea of government censorship, but that he was “really, really stoned” when he penned them, so that might not translate. Either way, the song is one of their best. 

“Facelift” opener is one of the shortest tunes in their catalogue, but it packs a walloping punch into that runtime, as well as macabre lyrics that Cantrell wrote after witnessing 10-year-old kids dealing drugs. 

At six-and-a-half minutes, “Love, Hate, Love” is the longest track on AIC’ 1990 debut, and it’s the one that Cantrell once dubbed “the masterpiece” of the album. Featuring one of Staley’s first knockout vocal performances, this slow-burner tackles the nuances of love and hatred, two passionate feelings that are often enmeshed in the most unpleasant ways. All of that tension comes through on here. 

The band toured in support of the album for two years before releasing the acoustic EP “Sap” in early 1992.

Dirt

In 1992, Alice in Chains released the critically acclaimed album “Dirt”, It became the band’s most successful, The band did not tour in support of “Dirt” for very long, due to Staley’s drug addiction. While touring, Starr left the band for personal reasons and was replaced by Mike Inez. 

“Dirt” is Alice in Chains’ major artistic statement and the closest they ever came to recording a flat-out masterpiece. It’s a primal, sickening howl from the depths of Layne Staley’s heroin addiction, and one of the most harrowing concept albums ever recorded. Not every song on “Dirt” is explicitly about heroin, but Jerry Cantrell’s solo-written contributions (nearly half the album) effectively maintain the thematic coherence — nearly every song is imbued with the morbidity, self-disgust, and/or resignation of a self-aware yet powerless addict. Cantrell’s technically limited but inventive guitar work is by turns explosive, textured, and queasily disorienting, keeping the listener off balance with atonal riffs and off-kilter time signatures. Staley’s stark confessional lyrics are similarly effective, and consistently miserable.

Cantrell wrote “Would?” about his late friend, and Mother Love Bone frontman, Andrew Wood, who died of a drug overdose in 1990 at just 24 years old. One of many tragically prescient songs in the AIC playbook, its balance between emotionally turbulent lyrics and generally fun-to-listen-to sound make it the quintessential Chains song, and one of Staley’s most well-rounded vocal performances.

“Them Bones” is one of their foremost crushers. With palm-muted metal chugs that recall Pantera, a monster truck of a hook and guitar tones that are smothered in muddy distortion, this sinewy “Dirt” banger is 10 tons of pure hard-rock destruction that still makes room for piercing reflections on mortality. Hearing Staley croon, “I feel so alone/Gonna end up a big ol’ pile of them bones,” is positively chilling.

“Down in a Hole” ended up becoming one of the most beloved songs on their 1992 sophomore LP, “Dirt.” Crawling, slightly psychedelic and unmistakably Sabbathian, this moody gem about the guitarist’s then-girlfriend demonstrated the emotional and sonic range of the band to great effect. 

Sometimes he’s just numb and apathetic, totally desensitized to the outside world; sometimes his self-justifications betray a shockingly casual amorality; his moments of self-recognition are permeated by despair and suicidal self-loathing. Even given its subject matter, “Dirt” is monstrously bleak, closely resembling the cracked, haunted landscape of its cover art.

AIC usually prefer to traverse the back roads of metal, hard rock and alt-rock, but they also excelled at down-the-middle grunge. After a jammy, psychedelic intro with plenty of wah-wah pedal abuse, “Rain When I Die” contains the most early-Nineties Seattle chorus on “Dirt”, while also maintaining their own signature flair. It’s a true classic of their early catalogue.

The album holds out little hope for its protagonists (aside from the much-needed survival story of “Rooster,” a tribute to Cantrell’s Vietnam-vet father), but in the end, it’s redeemed by the honesty of its self-revelation and the sharp focus of its music. Some versions of “Dirt” feature “Down in a Hole” as the next-to-last track rather than the fourth.

Jar Of Flies

1994 saw the release of Alice in Chains’ second acoustic EP, “Jar of Flies”. It entered the charts in the top slot, making it the first Alice in Chains release—and the first EP in history—to debut at number one.

Amazingly, “Rotten Apple” isn’t even the best song on “Jar of Flies”. The seven-song release also contains the greatest stripped-down track in the band’s discography, the glimmering “Nutshell.” Even without the force of blaring amplifiers, the band sound totally locked-in for this highlight, which boasts a gnarly yet tasteful solo, subtle drums and a sweetly melancholy vocal performance from Staley. 

AIC made history when 1994’s “Jar of Flies” became the first EP in history to peak at No. 1 on the Billboard 200, and “Rotten Apple” shows why it happened. The intro track from the band’s second acoustic EP boasts god-tier harmonies from the two singers, which slither in between a sultry guitar lick that’s drenched in phaser effects. It’s way more blues-rock than it is grunge or metal, but AIC never sound out of their element .

Alice in Chains

In 1995, the band released a self-titled album, Alice in Chains entered a hiatus after not touring since the release of “Dirt”. Dispelling rumours of their demise due to Layne Staley’s heroin addiction, “Alice in Chains” is a sonically detailed effort that ranks as their best-produced record, and its best moments are easily some of their most mature music. “Alice in Chains” relies less on metallic riffs and more on melody and texturally varied arrangements than the group’s previous full-length albums, finally integrating some of the more delicate acoustic moods of their EPs. The lyrics deal with familiar AIC subject matter — despair, misery, loneliness, and disappointment — but in a more understated fashion, and the lyrics take on more uplifting qualities of toughness and endurance, which were missing from much of their previous work. The consistent visceral impact “Alice in Chains” lacks in comparison to that previous work is partially made up for by the skilled production and songs like “Grind,” “Brush Away,” “Over Now,” and the hit ballad “Heaven Beside You,” which are among the band’s best work.

Still, in spite of its many virtues, it’s hard not to feel a little frustrated with the record, as though, given those qualities, it should have turned out better than it did — there are some slow spots where the songs are under-crafted and not especially memorable, and those moments can make the band sound uncommitted and distracted. That, in turn, can make the defiance of songs like “Grind” (“you’d be well advised/not to plan my funeral ‘fore the body dies”) sound more like denial; just when Alice in Chains’ music was finally beginning to emerge from the dark side, the intra-band problems became too much to bear and made Alice in Chains the last collection of new material the Staley-fronted AIC would release.

MTV Unplugged

From 1996 to 2002, the band was mostly inactive, but releasing two live albums, including the successful “MTV Unplugged”, Between the end of 1993 and a performance for MTV Unplugged in the spring of 1996, Alice in Chains performed no concerts — they didn’t even support the release of their eponymous third album with a minor tour. There’s a variety of reasons for their inactivity — primarily it’s due to the health of certain members — but the lack of concerts made the Unplugged performance seem special. During the concert, Alice in Chains drew from their three albums and two EPs, offering new, more reflective arrangements for harder songs like “Would?” and virtually re-creating the original versions of “Got Me Wrong” and “No Excuses.” Throughout the album, the group sounds tight and professional — on the basis of this performance, it’s hard to believe that they hadn’t played together for nearly three years — but it doesn’t offer anything that the albums don’t already.

The acoustic arrangements of the harder songs sound like novelties, and the rest sound like rehashes of their previous work, only without much energy. Again, it’s a case of an Unplugged album that is designed to attract the band’s core audience, which makes it a fairly entertaining effort that is essentially just an official bootleg.

Live

On April 19th, 2002, Staley was found dead in his home after overdosing on heroin and cocaine, causing the group to break up. 2005, the band reunited with a new vocalist William DuVall. Alice in Chains had signed to Virgin/EMI making it the band’s first label change in their 20-plus year career.

With Alice in Chains on hiatus by the turn of the 21st century, Columbia Records issued several stop-gap releases to fill up the space — 1999’s greatest-hits collection “Nothing Safe” and the box set “Music Bank”, and a year later, their first true live collection, titled simply Live. Despite Alice in Chains’ inability (or outright refusal) to launch a proper tour after 1994, fans lucky enough to have caught one of their early tours will attest that they were quite a powerful live act. Their detuned sound and tales from the darkside are even more sinister and gripping on the concert stage, as evidenced by this 14-track set.

With a healthy helping of selections from their 1992 tour de force, “Dirt”, Alice in Chains let it rip on such metallic standouts as “Dam That River,” “Would?,” “Rooster,” “Angry Chair,” “Junkhead,” and a “drunk and disorderly” version of “Dirt’s” title track. Also featured are the early classics “Man in the Box” and “Bleed the Freak,” as well as a track that never appeared on any of their official studio albums, “Queen of the Rodeo.” Live shows what a devastating live band Alice in Chains could be.

Black Gives Way to Blue

“Black Gives Way to Blue”, the group’s first album with DuVall, was released on September 2009.

It’s hard not to feel for Alice in Chains — all the guys in the band were lifers, all except lead singer Layne Staley, who never managed to exorcise his demons, succumbing to drug addiction in 2002. Alice in Chains stopped being a going concern long before that, all due to Staley’s addictions, and it took guitarist Jerry Cantrell, bassist Mike Inez, and drummer Sean Kinney a long time to decide to regroup, finally hiring William DuVall as Staley’s replacement and delivering “Black Gives Way to Blue” a full 14 years after the band’s last album.

“Check My Brain” was the first official single from AIC’ comeback album, 2009’s and the band’s second-ever track to feature Staley’s replacement, William DuVall, on the mic. The late frontman is so revered that whoever filled his shoes was always going to be controversial with some fans, but this song is a goddamn ripper that offered triumphant reassurance that the band were still a hard-rock machine. 

To everybody’s credit, “Black Gives Way to Blue” sounds like it could have been delivered a year after Alice in Chains: it’s unconcerned with fashion; it’s true to their dark, churning gloom rock; and if you’re not paying attention too closely, it’s easy to mistake DuVall for his predecessor. There’s a difference between desperately attempting to recapture past glories and reconnecting with their roots, and Alice in Chains fall into the latter category.

While they’ll never be mistaken for a feel-good band, there is a palpable sense of relief that they get to play together again as a band, and what’s remarkable is that they still sound like themselves, capturing that weird murk halfway between ’80s metal and ’90s northwestern sludge, reminding us that we were missing something in their absence.

The Devil Put Dinosaurs Here

In 2011, Alice in Chains began work on their fifth studio album, “The Devil Put Dinosaurs Here”, which was released on May 2013. The big task for Alice in Chains on their 2009 comeback “Black Gives Way to Blue” was to prove they could carry on battered and bruised, missing Layne Staley but still in touch with their core. Enter “The Devil Put the Dinosaurs Here“, a record that is pretty close to identical to “Black Gives Way to Blue” in its sound, attack, and feel. Where it differs is in the latter, as the overall album feels lighter and, at times, the individual songs do, too. “Scalpel” flirts with the acoustic bones of “Jar of Flies” and also has perhaps the richest melody here, working as a song, not a grind.

This standout from 2013’s “The Devil Put Dinosaurs Here” sounds like Slayer gone sludge — gargantuan riffs, intense vocals from Cantrell and the eerie refrain, “I’ll just haunt you like a phantom limb.”

That said, there is an appeal to that monochromatic churn, the kind AIC created on “Dirt” and haven’t let go of since. The lightness comes not from the songs — the tempos still drag their feet, the guitars mine a minor key, the harmonies are in fifths so they sound like power chords — but rather from the precision of the band’s attack and, especially, the production.

This has a digital sheen that was missing even from “Black Gives Way to Blue”, and it gives the album an expansive feel, so the patented churn doesn’t seem quite so claustrophobic as before. Then again, perhaps that expansiveness is just a sign of age: Alice in Chains are now firmly entrenched in their middle age and settling into what they do best: retaining their signature without pandering and, tellingly, without succumbing to the darkness that otherwise defines them.

Rainier Fog

Alice in Chains’ sixth studio album, “Rainier Fog“, was released in August 2018. Consider “Rainier Fog” as something as a homecoming for Alice in Chains. Named after the heavy mist that comes rolling down from nearby Mount Rainier, the album finds Alice in Chains recording in Seattle for the first time since the group reunited in 2008 with William DuVall replacing the late Layne Staley as lead vocalist. Alice in Chains are aware of the significance of their return to Seattle, the place where they formed and rose to fame, so they wrote a tribute to all of their compatriots in the grunge scene, but that title track obscures how the album as a whole feels as if this incarnation of the band is exceedingly comfortable in its own skin. By this point, this latter-day version of Alice in Chains has recorded as many albums as the original line-up and has been together nearly twice as long, which means there’s an easy, evident chemistry to these ten songs.

Alice in Chains smartly decide to lean into this coziness, never attempting something new — the closest to a new wrinkle would be the ballad “Maybe,” which has a bit of an ’80s AOR bent — and focusing on their interplay and craft instead. It’s a gambit that pays off. “Rainier Fog” is, from front to back, a strong and lean record, one that benefits from its familiarity because the standard tricks — the grinding guitars and droning harmonies — now seem to carry not a whit of angst. 

“The One You Know” is the intro cut and lead single from 2018’s “Rainier Fog”, and it’s proof of how much gas the band has left in the tank. The way the tense, metallic lead riff juxtaposes Cantrell and William Duvall’s pillowy harmonies during the chorus creates a hot-and-cold effect that’s classic AIC with a modern twist. 

This is music made from a band that has been through the wringer and is happy to settle down and play, and there’s an undeniable appeal to that open heart, particularly when it’s camouflaged underneath such nominally heavy music.

 The Albums:

Facelift (1990)

Dirt (1992)

Alice in Chains (1995)

Black Gives Way to Blue (2009)

The Devil Put Dinosaurs Here (2013)

Rainier Fog (2018)

“Humanhood” is the first Weather Station LP since Tamara Lindeman issued “How Is It That I Should Look at the Stars” in 2022. Lindeman shared the lead single, “Neon Signs,” last autumn, explaining, in press materials, that she wrote the song during “a moment of feeling confused.… the confusion of being bombarded with advertising at a moment of climate emergency, the confusion of relationships where coercion is wrapped in the language of love.” The sprawling, Joni Mitchell–esque ballad preceded equally intricate, jazz-inflected singles “Mirror,” “Window,” and “Body Moves.”

“Humanhood” was a companion for you this year. (Also love seeing the diversity of streaming services you are all posting yr stats from – so glad the hegemony of that one service is breaking at last)

This freak dropped into the world three days before the inauguration of you know who – terrible timing. And sometimes this record has felt almost too much of the moment – a record of fragmentation and dislocation and breaking apart. But also a record of putting back together. Still feel like “Sewing” is my favourite song I’ve written yet and I’m grateful to it for finding me.

Anyway – love to all that got it – I hope we’re all ok – to my fellow travellers in existential journeys this is my sonic love letter to the light returning.

Recording Band
Kieran Adams – Drums
Ben Boye – Piano, Hydrasynth, Synth Bass, Wurlitzer, Pianet
Tamara Lindeman – Vocals, Piano, Pianet, Synth, Mellotron
Philippe Melanson – Percussion, Drums, Electronic Drums
Karen Ng – Saxophone, Clarinet, Flute
Ben Whiteley – Bass, Synth Bass

This record was performed by six musicians improvising live off the floor in two sessions in late 2023.  This band shaped the music indelibly in form, arrangement, mood, and feeling.

Released January 17th, 2025