The incredible trio of Thom Yorke, Jonny Greenwood and Tom Skinner return with their second album. Launched with the titular single, its haunting, jaded vocal is offered in sharp contrast to the almost jauntily strummed acoustic guitar. Sparse percussion drives the song along until looming strings bring a doomy, filmic counterpoint to the arrangement. A stunning glimpse of the body of work this band are unveiling next year.
The new album, was recorded between Oxford and Abbey Road Studios, and is produced and mixed Sam Petts-Davies. It features string arrangements by the London Contemporary Orchestra. “Wall Of Eyes” is the follow up their 2022 debut LP “A Light For Attracting Attention”.
The new album from the Radiohead members side project – comprising Jonny Greenwood, bandmate Thom Yorke and former Sons Of Kemet drummer Tom Skinner – is due out on January 26th via XL Recordings, The band have also announced news of a UK and European tour for 2024, where they’ll open at Dublin’s 3Arena on March 7th and finish up with a show at London’s Alexandra Palace on March 23rd.
ICYMI UK noise-rock pioneers The Telescopes have recently announced their sixteenth studio album ‘Growing Eyes Becoming String’, our February 9th 2024. The Fuzz Club store/membership splatter edition has sold out already, but you can still grab a copy on 180g clear vinyl and CD, with bundle discounts if you pick up both formats.
Originally recorded over two sessions back in 2013 – one over a harsh Berlin winter in the Brian Jonestown Massacre studio with Fabien Leseure, and a second back in Leeds with early Telescopes producer Richard Formby – it’s a lost Telescopes treasure that nearly never was. Succumbing to a hard-drive crash nearly a decade ago, the sessions were presumed lost and soon forgotten, until now. Miraculously rescued from the digital ether and finished by founding member Stephen Lawrie in his own studio over the pandemic, the album reveals another side to where The Telescopes were at in 2013.
Where their physical output at the time mostly consisted of experimental noise improvisations, so far removed from any obvious structure, ‘Growing Eyes Becoming String’ shows how The Telescopes – Lawrie backed by London experimental unit One Unique Signal – were actually creating more song-based music in a parallel existence. Across its seven tracks are all the trademarks of quality that longtime fans associate with The Telescopes’ music. Solid songs, melody, harmony, noise, dissonance, improvisation, experimentation and an all-embracing journey beyond the realm of natural vision.
Montreal psych-pop band Elephant Stone released their new single ‘History Repeating’ last week. It’s the latest to be lifted from their recently announced new album ‘Back Into The Dream“, out February 23rd.
Talking about the single, Rishi Dhir says: “History has a haunting tendency to repeat itself, from the scars of colonialism to the rise of authoritarian regimes. It’s as if we’re trapped in a loop, forever replaying the same tragedies. ‘History Repeating’ is my way of confronting these harsh realities, particularly as they relate to my home country of Canada, which was built on the deeply troubling foundations of genocide and ethnic cleansing targeted at Indigenous peoples.
In recent years, thanks to the Truth and Reconciliation Commission, the appalling truths about our past have been laid bare, including the discovery of thousands of unmarked graves—a haunting testament to our collective failures. This song serves as an urgent plea: let’s break the cycle. Let’s learn from the darkest chapters of our history to create a more just and compassionate future.”
‘Back Into The Dream’ is available to pre-order now on Fuzz ClubRecords
Serving up art-pop for the anthropocene, “Springs Eternal” is the Mercury-nominated, critically acclaimed artist William Doyle’s most ambitious and most playful creation to date. Taking a panoramic view of the ecstasies and agonies of life in the 2020s, the record asks how we exist as fragile flesh and blood – our hearts beating and our minds racing – in an unprecedented, almost unimaginable time of runaway climate destruction and technological expansion.
“Springs Eternal” presents a strange and thrilling cast of characters – from cowboys to castaways – who just might be Doyle, once or twice removed. “Most of the songs are in the first-person, but rather than being autobiographical, I was trying to imagine hyperreality versions of myself,” Doyle says. “What if decisions I made in my life had resulted in the self of each particular song? How many degrees of separation am I from those realities? It’s a frightening thought, and frightening thoughts often make for good songs.”
Across 11 tracks, we hear from narrators teetering on the precipice of global disaster, heartbreak, addiction, indoctrination and mental illness, until they pass into the great unknown. The lyrics, by turns earnest and ironic, upfront and allegorical, are paired with infectious melodies and often outright swagger. Co-produced by indie superproducer Mike Lindsay (Tunng, LUMP) at his MESS studio in Margate, we hear the siren song of the sea washing around pulsating electronics and stirring instrumentation, featuring contributions from musicians Alexander Painter, Genevieve Dawson and Brian Eno.
A recurring theme of water and flooding runs through the record, alluding simultaneously to the global climate crisis and the deluge of overwhelm these parallel-universe Williams are experiencing. “It wasn’t until we were mixing the record that I realised how many water references there are,” Doyle says. “I guess there’s a fluid border between our inner selves and the outside world that allows things to flood in, in unstoppable or perhaps irresistible ways.”
New single, ‘Relentless Melt’, the second song to be made available from the record following the release of ‘Surrender Yourself’ last month.
“Springs Eternal” is the next chapter in the William Doyle sonic odyssey that began with his incarnation as East India Youth (Total Strife Forever, 2014; Culture of Volume, 2015) and developed under his own name, producing the critically acclaimed records “Your Wilderness Revisited” (2019) and “Great Spans of Muddy Time” (2021). Alongside his own output, Doyle recently produced Anna B Savage’s celebrated debut album “A Common Turn” (2021) and plays in Orlando Weeks’ band both live and on his upcoming record.
Evan Dando’s The Lemonheads cast a long shadow contrasting the emotion of life’s inevitability. The band have a brand new single, The Lemonheads release ‘Fear Of Living’ on November 15th on Fire Records.
A reflective upbeat slice of perfect pop with a grittier Evan at the helm and a riff that’s plucked from the very heart of rock ‘n’ roll. Playing all the instruments on the recording, the new single was recorded and produced by Apollo Nove at A9 Audio in São Paulo, Brazil. Evan is also currently working on the first Lemonheads songs since 2006.
‘Fear Of Living’ was written by the late Dan Lardner of QTY and Evan Dando. Dan was a close friend of Evan’s who passed in June of 2023.
“I met with Dan in 2022, he sent me ‘Fear Of Living’, I added some riffs and things, and he said he liked it. I shall miss you, Dear Prince, ever the most dignified person in the room.”
Seeing out 2023 with three special live dates at The Space in Chicago, they revisit ‘It’s A Shame About Ray’ and ‘Come On Feel The Lemonheads’ before a special New Year’s Eve Extravaganza. Following that, Evan will embark on a 5-week solo US tour in February.
A limited edition seven-inch vinyl will be exclusively released November 15th, 2023
Psyched to announce the debut album ‘Lighthouse’ coming out March 22nd!! These are 11 songs of hope, joy, heartache and love!. Since first emerging in early 2020 with the anthemic ‘Quit Fucking Around’ and releasing a critically acclaimed 3-part EP trilogy between 2020 and 2022, Francis of Delirium gained praise for distilling the angst and despair that plagues a generation who faces an uncertain present and future.
A restless energy and desire to connect with the listener lies at the core of the project, with Jana’s personal lyrics being underpinned by a fierce rock sound that is as liberating as it is intense. Hailed as a Gen Z’er excitingly redrawing 90s classic indie rock (unsurprising given her chief collaborator Chris Hewett hails from Seattle and is three decades her senior) a deep admiration for contemporary acts such as Car Seat Headrest, Japanese Breakfast, Mitski, Phoebe Bridgers and Sufjan Stevens is also abundantly clear.
Today you can listen to our new single ‘Blue Tuesday’
The upcoming album is titled ‘Lighthouse’, as their music has always straddled the line of light and darkness, both musically and lyrically. Expanding the instrumentation by incorporating more pianos and acoustic guitars, the tracks on ‘Lighthouse’ are intimate and disarming.
“Long Is The Tunnel” begins fully submerged. Rain is the first sound on the album’s opening track, “Challenger Deep,” the drops falling to announce the coming of a gentle fingerpicking. Next comes Beckerman’s voice, an understated captivation that stuns with its soft strength. She sings “Will you wait for me / Where there is no later on? / Will you wait for me at the end, the end?,” drawing out each word, pausing between phrases—her voice arriving wrapped in silk but sung with desperation. There is a heaviness to her vocal, something substantive to grasp onto despite her lilting melancholia. She reaches her hand up through the water’s surface, begging you to reach out and pull her from her drowning.
Standout track “Bouganvillea” showcases even more sonic experimentation and excitement, and Beckerman’s voice slides gracefully and meticulously up and down scales—as if with each new word and syllable, the apparition of her tone is dancing across the keys of a piano. There’s a palpable back-and-forth puppeteering on the song; even the lyrics speak to a confounding cascade of emotions and thoughts, as she sings “I do not want to keep you alive but I do not want you to die / Why are you mad at me when I didn’t try to help you out at all.” The track closes in on itself, Daneshevskaya’s paradox of love and longing.
Graceful violins underset the following “ROY G BIV,” as Beckerman sings optimistically of the world’s natural organization: “It’s all in rainbow order on the way down / It’s all in perfect order.” She had been inspired by her own dayjob (when she’s not singing, she’s a pre-school social worker in NYC), and claims to have been admittedly moved by how kids’ worlds “hinge upon small discrepancies.”
New York singer and songwriter Daneshevskaya shares their highly anticipated new release “Long Is The Tunnel“, now available to stream and purchase on “Blood Red” vinyl or cassette via Winspear or your local record store.
Deemed “dynamic, baroque indie rock” by DIY, the seven gleaming songs on “Long Is The Tunnel” each sound like a world within their own, pairing twisted-up classical structures with distinctive metaphors that are both otherworldly and grounding. Daneshevskaya was recently hailed as an Artist To Watch by Stereogum, citing her music as “iridescent and unforgettable,” and “Long Is The Tunnel” was dubbed Paste’s Album of the Week with an impressive 8.8 score.
Laced with distortion and supple synth notes, “Big Bird” aches through bursting percussion and Beckerman’s airy singing that thins out into a beautiful, angelic falsetto. “The biggest bird I’ve ever seen,” she intones. “I don’t know what the reason was. I can’t tell a dove from the biggest bird I’ve ever seen.” It’s an earworm melody that rises and falls and glitters, culminating in a field recording of birds flocking to some unknown destination. “Long Is The Tunnel” ends on a gentle, elusive and captivating note, as final track “Ice Pigeon” opens to twinkling piano keys—almost ironically so. It could soundtrack the opening to a music box of her own history but, firstly, it ties together the record’s surrealist charm—most emphatically when she sings “Everything that comes out of your mouth is gold / But it’s useless to me / Cause I know what it needs.”
from Daneshevskaya’s forthcoming project ‘Long Is The Tunnel’ out November 10th, 2023 via Winspear.
Boygenius brought some songs from their long-awaited debut album, “The Record”, to Studio 8H last night. Fresh after a whopping six Grammy nominations, the supergroup ,helmed by Phoebe Bridgers, Lucy Dacus and Julien Baker gave rocking performances of “Not Strong Enough” and “Satanist” during its Saturday Night Live show debut on November 11th.
With an introduction from second-time host Timothée Chalamet, Boygenius opened with “Not Strong Enough,” which topped Billboard‘s Adult Alternative Airplay in June. For the performance, the band donned black and white suits in a nod to The Beatles and their Rolling Stone magazine cover in tribute of Nirvana. The group returned in the same slick outfits for a moody delivery of their second track “Satanist.”
Boygenius took the stage just weeks after the release of their new four-track EP, “The Rest”. Bridgers previously served as musical guest for her solo work, back in April 2021, and memorably destroyed her guitar on stage that night. On Friday (November 10th), the three-piece discovered they were nominated for a six awards at the 2024 Grammy Awards, including nods for both album and record of the year for “The Record” and “Not Strong Enough,” respectively.
“It feels like I’m in a simultaneous come-up and come-down from a high,” Dacus told Billboard after the nominations were announced.
We’re so happy to announce the latest full-length album from punk veteran Laura Jane Grace, “Hole In My Head“, out February 16th. The title track, “Hole In My Head” is out now following last month’s release of the fan-favourite “Dysphoria Hoodie”.
From being recently named one of Billboard Magazine’s “50 Greatest Rock Lead Singers Of All Time” to receiving the key to Gainesville, FL, Laura Jane has cemented her status as a punk icon and“Hole In My Head“proves the best is still yet to come. Full of social critique to topics of self-exploration, across its 11 bolstering tracks, this album is one for the ages.
A musical force since Against Me!‘s debut in the late-’90s punk veteran Laura Jane Grace has never shied away from themes of political commentary, environmentalism, social critique and candid self-exploration. On “Hole In My Head”, she continues to showcase her song writing genius across the 11 tracks, issuing an album that captures the nuances of humanity and experience in a strangely optimistic manner. The lightness of its influence, and the journalistic recollections set against a battered and warm folk-punk delivery make this release a welcome embrace of life and just the start of a new chapter in LJ’s raucous journey.
Additionally, Laura Jane shares the details for a US headline tour set for March 2024 backed by a full band
The Fat Angel Sings 