Though it arrives just over a year on from the release of its predecessor, ‘Everything Is Dangerous But Nothing’s Surprising’, Body Type’s second album came together slowly over the span of three years, and shows a side of the band that their rough and raw debut shied away from.
Your new favourite Australian underground gems, Body Type are back with their hotly anticipated second album “Expired Candy” via Poison City Records. Body Type assert there’s no time like the present and reveal “Expired Candy” is filled with hope, love, and danger, dancing with delicious uncertainty. In pursuit of joy they dreamed up songs about mothers, sisters, dogs, nans; family tantrums, forward motion, falling in love, platonic or romantic, with someone or self.
‘Expired Candy’ is very aptly titled: it’s much sweeter and more approachable than the bands first album, but stands out with a distinct pang of sourness. It sounds like a DIY punk band’s take on a power-pop record – precisely because it is – and with every jagged harmony and bent hook they use to command your full attention, it becomes clearer and clearer just how well Body Type nailed the brief.
Following recent national tours supporting Fontaines D.C and the Pixies, the first peek of “ExpiredCandy” arrived with ‘Miss The World’. Born out of their time during COVID, ‘Miss the World’ is a pummelling lament, concerned with citizens’ unquestioning compliance and the ascent of tyrants, told through pre-teen anarchists, bichon frises, and a drum beat based on a Gwen Stefani song. Acting less as a commentary on the pandemic but rather the realisations, both personal and collective that occurred during that time. ‘Miss The World’ is the first taste of new music from the band since the release of their independently released, Australian Music Prize-nominated debut album “Everything Is Dangerous But Nothing’s Surprising”. Featuring tracks like ‘Buoyancy’ ‘The Charm’ and ‘Sex and Rage’, the 11-track record is a sharp, and invigorating listen packed with gentle contemplation and righteous fury.
‘Miss The World’ single taken from forthcoming album ‘Expired Candy’ (Out June 2nd). Preorder now via Poison City Records
English rock trio Dream Wife are back with their third studio album “Social Lubrication”, a delightfully pissed-off directory of band members Rakel Mjöll, Alice Go and BellaPodpadec’s experience with the patriarchy, sexuality and the intricacies of the music industry’s steep social ladders. Think Sleater-Kinney meets Wet Leg meets new wave meets pop-punk, and then give it is a smokey eye and a fuck-you (but maybe you can fuck me) smirk. That’s Dream Wife’s latest Lp in all its glory, and it’s slick and louche and perfect.
In between head-bopping to the album’s lead singles, we caught up with the powerhouses behind “Social Lubrication” to dance through this album and confirm the underlying emotions with which we ought to scream-sing the lyrics. Listen along as you go, and keep an eye out for upcoming tour dates: “The live show is the truth of the band,” says guitarist Alice Go. “That’s at the heart of what we do and of the statements we’re making.”
Social Lubrication Statement: Sticky motions dripping with hard hitting emotions, “Social Lubrication” is an album wall-to-wall with hot ‘n’ heavy dirty rockers, sultry, dangerous, vulnerable, lustful, untamed, feral, political statements with a healthy dose of silliness.
The album was produced by Dream Wife’s guitarist Alice. The sound of the record is citing the wild joyful energy of the live show; raw power, elevated.
Building from solid foundations of trust, honesty and friendship developed over years of making music, experiencing life together, love and rocking out together we wanted to make a hyper lusty gut punching high kick rock record with strong political statements. Exploring the alchemy of attraction; lust for life; importance of community; calling out the patriarchal structures in our societies and having a hot party while we’re at it! Horny at the end of the world
“Kick in the Teeth”
Self defense, what does it mean to defend yourself? What is protection, how can we keep each other safe, what is safety; physically, emotionally, energetically. Reflections, smoke and mirrors, searching for meaning. How much is it worth? REVENGE! Is it self defense or revenge? What are the lines? Who keeps you safe? Growing into your power…”I’ve spent so much of this youth questioning my value”—being fed up with all the lies you’ve told yourself through the lenses of capitalism and others. The limits you’ve made for yourself come shattering down when really nothing matters. We’re only on this earth for a short while and pissed off about the times when we doubted ourselves but bringing anger into the mix helps us let go and break the shackles to roam free. With cutting riffs and unapologetic, assertive vocals, this song is a shameless rocker that will literally kick you in the teeth.
“Who Do You Wanna Be?”
This song is about running on the capitalist treadmill and falling face flat on the pavement. Moving from hyper individualized narrative to collective action. The individual within the collective. Capitalism consumes everything… Hollow slogans, social media activism without action, leftist infighting, monetizing feminism, soul crushing, girlboss, nonsense. Fuck the monarchy, the social structures that define us. Tear down the unreachable anxiety filled idea of perfectionism. Taking action, hopeful, rebellious, collective, systems of care. A call to arms for change.
“Hot (Don’t Date a Musician)”
Dating musicians is a nightmare. Silly, sexy dig in our own ribs… you gotta laugh at yourself, your friends and also their choices of lovers sometimes. Having a laugh together and being able to poke fun at ourselves is very much at the heart of this band. It is okay and also vital to have fun as well as being a band who wants to make statements and provoke change. This song encapsulates our shared sense of humor. Sonically it is the lovechild of the B52’s and Motorhead. It has our hard, live, rock edge combined with cheeky and playful vocals.
“Social Lubrication”
Exhausted. Done with being polite, done with sugar coating, placating and pandering to patriarchal bullshit. Wanting to just exist, in this body without being pigeon holed or judged for the bodies we exist in. Do the job well. Show up. Not play other people games. Systemic, structural injustice, pretense. “What’s it like to be a woman in music dear. You’d never ask me that if you regarded me as your peer.” You can’t fix something rotten to the core-we need revolution not reform. The lyrics move from unsolicited advice regarding behaviour, presentation and skills to gendered violence. “Your womb is a ticking time bomb”-limiting a person with a womb to a one-dimensional human fit to produce and then be disregarded. A product. To control. We also talk about date rape drugs in the lyrics-another attempt to numb and control—”push him away say this wasn’t a meeting this wasn’t a date, you ain’t my mate this ain’t confusing, that’s the rear view mirror for fucks sake.”
“Mascara”
A love song to London and romanticizing the little mundane moments in between of time spent in the city. The mythologies we weave of our own lives. Locating ourselves in the space between the past and the future and the dance bringing us back, connecting us. Romanticizing it all. Smoggy London skies with no stars. Mascara bar at 3Am. Gum under shoe. Outline of your lover’s spine. Life is a dance and it’s happening right now in front of us. So we can in that moment let it just be, just dance to the tempo of our liking. Life is to be romanticized. The poetry that exists in between us.
“Leech”
“Just have some fucking empathy.” “Leech” is an anthem for empathy. For solidarity. Musically tense and withheld, erupting to angry cathartic crescendos. The push and pull of the song lyrically and musically expands and contracts, stating and calling out the double standards of systems of power. Nobody wins in a patriarchal society. We all lose. We could all use some more empathy.
“I Want You”
Lust. Hyper lust. A snappy short sharp song about sex. And badly wanting to be bodily entangled with the object of your affection. Being direct is hot. Consent is hot. Agency, sweat, visceral, feral, hot and heavy down to the floor.”Twisted parts and all of your divine.” Harking back to the likes of “Let’s Make Out” and “So When You Gonna” (singles from our first and second albums), this short, dirty, lusty rocker is a lot of fun. Encapsulating the energy, instrumentation and dynamism of Dream Wife’s live show, this song is for sexual empowerment, directness, letting loose and going wild in the sack.
“Curious”
The bisexual, polyamorous anthem we’ve all wanted to write, it’s the one. “I feel too sexy to listen to my friends.” Getting dressed up in silk with your friends and going in search of unexpected encounters at the sex party. Avoiding cotton underwear. Premature confetti bombs. Playful, open to connections and the freedom of being present instead of letting controlling thoughts of a society’s structures overtake your own path of self-discovery. Exploration, self-acceptance, play and being a horny little minx. How sex and connections gets better and better the older you get and the more you learn about your body and what you want and don’t want and how much more there is always to learn. Staying curious in all facets of life is important, to close yourself off from new experiences and continuous learning is a sad way to live. We want to embrace our own curiosity. To live curiously is to fully live. Well that’s what grandma says. We are all constantly growing and changing all the time. Stay curious. Explore. Play. Live. Love.
“Honestly”
We wrote a heavy rock song and then said to each other. “Now let’s do the opposite,” and “Honestly” was born. Heavy tension, foreplay, seduction and the uncanny feeling that we’ve been here before…Deja vu. There’s no rush. Each breathe, each cymbal crash, stroke of the guitar is alluding to each other. Sensual present-ness. Sonically different to other songs on the record, this track shows a more reflective, dark and simmering side of the band. Taking inspiration from Blondie’s “Picture This” (“I will give you my finest hour, the one spent watching you shower”) and Portishead’s “Matchbox.”“Honestly”broods on the female gaze, and enjoys every minute of it.
“Orbit”
Lyrically inspired by a post lockdown London coming back to communal life and sharing a space together through friendship and community. Hot summer nights. Excitement behind turning strangers into friends, lovers or drifters in the night. About how each day you never know what’s in store for you or how a stranger you meet on that day can become someone close to you—be it for a day, a heartbeat, a phase or a lifetime. The beauty of connection and honouring the curiosity we have for each other as strangers—that might have met before in another life. So what do you we have in store now for this one? The entrainment of oscillating objects, synchronization of celestial bodies, magnetic energies. I recognize you… did we meet before? Does it matter? Feeling a connection and deciding to figure it out as you go.
Formed in 1963, and part of the first wave of the British blues boom, the Groundhogs initially came to public attention as John Lee Hooker’s backing band when the veteran bluesman paid a visit to the UK in 1964. More gigs followed with Jimmy Reed and Champion Jack Dupree, and in 1968 they were signed to Liberty Records by future Wombles supremo Mike Batt. However, it wasn’t long before the band were embracing the new progressive aesthetic with their 1969 album, “Blues Obituary”, proclaiming in no uncertain terms a move away from blues purism towards pursuing a more experimental direction.
The Groundhogs were also one of the coterie of underground bands on the Liberty/United Artists roster, which included Hawkwind, Man, Can and Amon Düül II. The four albums they recorded between 1970 and 1972 – “Thank Christ For The Bomb”, “Split”, “Who Will Save The World?” and “Hogwash” – saw the band become increasingly ambitious, both compositionally and conceptually, with the deployment of Mellotron and synth helping to create an exciting progressive/blues rock hybrid.
“Scratching the Surface” (December 1968)
“Blues Obituary” (September 1969)
The second blues boom in Britain was short-lived, and in order to keep the Groundhogs working McPhee decided to transform the blueprint. To follow-up their Mike Batt-produced debut, “Blues Obituary” was recorded in June 1969 at Marquee Studios in London with Gery Collins and Colin Caldwell engineering, the rote 12-bar sound transformed into something hypnotic, underground, supercharged. McPhee’s guitar is a thing of descending drones and howling shamanic dread, his vocals of paranoia and disaffection made eerie by his ability to bend words like notes, à la Son House. In case the message was unclear, the cover, shot in Highgate cemetery, left no one in doubt.
By the time of 1969’s “Blues Obituary”, McPhee had absorbed the influence of Jimi Hendrix, acknowledged the death of 12-bar blues “authenticity” and embraced the power of amplification and studio production. Operating as a power trio of McPhee, bassist Pete Cruickshank and drummer Ken Pustelnik, the band were determined to make a statement with their next album: “The idea of the title came from a discussion with Roy Fisher, Groundhogs’ manager at the time. John Lennon had said that The Beatles were bigger than Jesus and got a lot of publicity, so we were trying to think of something that was as contentious as that. Roy said, ‘Thank Christ for the bomb’, and it all clicked in my head.”
‘Thank Christ for the bomb’ (May 1970)
It’s hard to figure what happened to McPhee in the months between ‘Blues Obituary’s” release and the 1970 sessions for “Thank Christ for the Bomb” Whatever the impetus, the latter album represented an enormous progression. ‘Thank Christ’ is a startling statement so different from the previous Groundhogs records that it might as well have been made by a different band. McPhee, Cruickshank, and Pustelnik left the blues behind for a batch of songs that link the after-effects of the psychedelic era to the first flickers of the prog rock period, with plenty of hard-rock roar and some of the most explosive, expressive guitar solos ever committed to tape.
McPhee had set about writing a set of songs full of contrasting riffs and chords – still recognisably blues rock, but skewed into dynamic new shapes. The lyrics were also a major advance from traditional rock’n’roll platitudes; the first side of the album is based around the theme of alienation, while the second tells the story of a rich man who renounces his status and embraces poverty instead. Soldier deftly portrays the brutalising effects of war, set to an irresistibly catchy riff: “We really got our boost when John Peel played “Soldier” on his programme, he liked the song and the lyrical complexity.”
McPhee made a supercharged power-trio concept album, a crunching mix of Sabbath, Beefheart, and the trio’s brand of harmonic heaviosity, as side one ruminates on two World Wars and the bomb culture generation, and side two tells of a Chelsea gentleman who returns to nature, “my food from bins, my water from ponds”.
“Split” (March 1971)
Building on their popularity as an explosive live act, and coming off the back of opening for the Rolling Stones on their 1971 UK tour, “Split” was the Groundhogs’ most successful album, peaking at No.5 in the UK charts. Another set of spiky, twisting songs, it includes their most well-known track, the punk blues stomp of “Cherry Red” (from where the record label takes its name), which, despite not being released as a single, even secured them a slot on Top Of The Pops. But McPhee had higher aspirations in mind.
Occupying the first half of the album is a four-part suite inspired by a very real mental breakdown McPhee had experienced. It brilliantly rides the line between derangement and control, with McPhee’s mad, magical guitar work more jaw-dropping than ever. It’s an instrumental and lyrical expression of schizophrenia, a frantic scouring storm of discordant sustain, fuzz and wah wah guitar patterns, thunderous drumming, earthquake bass, and addictive riffs incorporating ideas of split personalities, loneliness, and Yogic mind and body separation. With a second side that features the scorching, pummelling euphoria of “Cherry Red”, the psychedelic Black Sabbath dirge A Year In The Life, and Groundhog, McPhee’s rearrangement of “Ground Hog Blues“, the John Lee Hooker song that gave the band its name, the album became an immediate best seller
“Thank Christ For The Bomb” got to No.9 in the UK charts, and significantly raised the Groundhogs’ profile. They also started playing alongside many of the emerging prog bands, including Yes, Curved Air, Gentle Giant and Colosseum, although McPhee admits: “I wasn’t enamoured by some of the bands in the progressive scene at that time – I didn’t like the soft, fluffy sound that they produced.” Instead, he drew inspiration from the darker, edgier sounds of groups such as King Crimson.
“Who Will Save The World?” (March 1972)
“Who Will Save The World?” is where the band’s prog inclinations really start to become apparent – just listen to the jazzy riffs and dramatic Mellotron of “Earth Is Not Room Enough” and “Music Is The Food Of Thought”. It’s another loosely conceptual album, addressing the various evils threatening the world – overpopulation, war, big business… But its presentation was anything but po-faced, with DC and Marvel Comics’ artist Neal Adams brought in to create a fold-down comic strip sleeve, with the band reimagined as superheroes The Mighty Groundhogs. “I was a big fan of Silver Surfer, as drawn by Neal,” says McPhee. “Once I saw the artwork he’d come up with, I wanted to write all the songs to link with it.”
However, despite getting to No.8 in the UK charts, it got a decidedly frosty reception compared to their previous albums. “A lot of fans and the press didn’t like it. To be honest, it was rushed and I never had the time to work on the production or even think about what we were playing, and I agreed with them for a while. It was only a few years later, when I could listen to it objectively that I realised its strengths. We often get people now saying that it’s their favourite album.”
Undaunted, McPhee continued to take the band in a more progressive direction, adding an ARP 2600 synthesiser to their musical armoury. And following the departure of Pustelnik, the band’s new drummer was none other than Clive Brooks from Canterbury scene stalwarts Egg, who had supported the Groundhogs on tour. “Clive was a lovely man and there was a lot less stress involved with getting together on time playing and touring,” says McPhee. “He was a powerful player who suited the times and new material that I was writing.”
“Hogwash” (November 1972)
Alas, the public weren’t receptive to McPhee’s increasingly outré take on blues rock, and “Hogwash” failed to chart. It also proved to be their last album for United Artists, with the band signing to WWA, the short-lived label set up by Black Sabbath’s management team. They released the album“Solid” in 1974 – which, as the name suggests, was a retreat from the more expansive sound of “Hogwash” – before splitting up for the first time the following year.
That new material would emerge on the brilliant “Hogwash”, the band’s most overtly progressive album. Not only are Mellotron and synth more to the fore than ever, in particular on the tracks “You Had A Lesson” and “Earth Shanty”, but the clever arrangements and segues between songs make for a genuinely sophisticated and powerful listening experience. McPhee’s lyrics are also some of his most challenging. For instance, opener “I Love Miss Ogyny” is a chilling depiction of domestic abuse from the point of view of the abuser, the song’s stop-start dynamic reflecting its dysfunctional theme.
Placed behind their predecessors but they were still head and shoulders above what most bands were doing at the time. And in between those two records, McPhee took time out for a 1973 solo album that featured his furthest-out expedition ever.
“Solid” (June 1974)
As suggested by its perfunctory, artless cover image – McPhee, Cruickshank and drummer Clive Brooks, who had replaced Ken Pustelnik two years earlier, gloomily stare – “Solid” is a cold, sterile, angular work, at times closer to post-punk than prog-blues. Right from the sickly, phased, multitracked guitars and brute-rhythm section of the album’s opening track “Light My Light” (lyrics about death, decay and a darkened Earth) we are in a fug of existential and environmental despair. Riffs stab, keyboards jab, vocals bite and the LP is drenched in a trebly metallic sweat of high anxiety and fear. Managing to alienate band, record company and management, it arguably signalled the end of the group as a true creative force.
Yet before that had come the apogee of McPhee’s experimental impulses, with the release in 1973 of his first solo album, “The Two Sides Of Tony (T.S.) McPhee”. On one side was a collection of folk blues numbers, and on the other an avant-garde electronic symphony entitled “The Hunt”, performed on the ARP 2600 and a Rhythm Ace drum machine, which still sounds completely out there today. “I’d been using the ARP 2600 during gigs for the “Hogwash” tour and wanted to explore its potential. It also gave me an opportunity to express my loathing for people who hunt foxes. I stand by what I said then, there are still a lot of arrogant people who get a kick out of cruelty.”
The Groundhogs may have existed on the periphery of the prog world, but the way it informed their music in the early 70s is a fascinating example of cultural cross-fertilisation. And while they perhaps never quite made it into rock’s premier league, they released some of the era’s most innovative and exciting albums, and retain a devoted fanbase to this day,
“Crosscut Saw” (February 1976)
Originally intended as a Tony McPhee solo long-player before management encouraged the guitarist to release it under the Groundhogs name, this low-slung affair of slow, loping menace finds McPhee’s guitar corrupted and perverted by the EMS Synthi Hi-FLi guitar effects unit, his mind turned bitter by divorce. Visceral lyrics of paranoia and recrimination are spat out over epic space-blues dirges that shift jarringly into analogue storms of sci-fi disturbance and frenzied metallic trauma. Vastly underrated, and deeply unsettling, it’s an album that ultimately feels closer to schizoid Sabotage-era Black Sabbath than the Groundhogs of two years earlier.
“Our music is often so basic people miss the point,” said McPhee. “On live gigs we’re never the same twice – one night they might think it’s Captain Beefheart up there and the next Muddy Waters. It should be a spontaneous reflection of the musicians’ emotions on the night.” Such statements were often McPhee’s way of defending the fact that the Groundhogs could be an erratic live band who struggled to replicate their studio-augmented power on-stage. Taken from three outside broadcasts between 1972 and 1974, this is almost certainly their finest live document, containing the best-ever live renditions of “Split Pt.1” and “Cherry Red”.
Despite uniformly cringe-inducing album covers that would have made even Spinal Tap recoil, The Groundhogs’ late ’70s-’80s albums are actually quite solid, but different from what came before. While it’s true that most of the quirkier elements of the band’s sound had been sanded off in favour of a more straightforward approach, and it must be admitted that the lyrics began taking a bit of a nosedive, sometimes descending into rock ‘n’ roll cliché, McPhee’s artistry remained so strong that the records work on their own terms, even if they’re far from the triumphs of the band’s early days.
The Groundhogs could have been bigger stars on the homefront in their heyday. And they should have made more of a mark in America, where their discography was strictly the domain of the kind of music geeks who obsessively haunted the import bins. But with the dazzlingly gifted Tony McPhee at the helm, they crafted some of the most arresting records of their era,
Kate Stables returns in absolutely masterful form this week as This is The Kit with the new “Careful Of Your Keepers” LP. There are loads of introspective moments, but the way the rich sonics all weave together just creates such an amazing flow. It was produced with Gruff Rhys and he has really added a warmth and focus without detracting from the band’s dynamic. This one really is a proper belter.
“Careful Of Your Keepers”is daring and soft, cutting and warm–a wild feat of complexity and combined dispositions. There’s a shared language of the band’s family experience that is as audible as ever in these recordings, which boast beautiful instrumental performances that still leave the nuanced space required for Stables’ vocals to live at the forefront. Across 10 songs, Stables reflects on the fragility of everything–of situations, relationships, and humans–and what we do to look after each other and ourselves as time rapidly passes.
Guiding the ship through changing seas is producer Rhys. Stables described his role as being a “tonesetter,” watchful and attentive to the band dynamics while making sure to always follow a hunch for where a new sound could find its place in the recording. “They are so ridiculously talented–and every member is a great producer in their own right–so it was just a matter of trying to capture the magic they make when playing live together,” Rhys says of the recording process. “Their playing is by default so thoughtful and complimentary in terms of respect to each other’s parts and to the integrity of the songs themselves that it creates a beautiful foundation of often cosmic interplay that’s always in aid of Kate’s voice and vision as a songwriter.”
“Slab” is the new EP from Louisville-based Wombo available digitally on Fire Talk. With past accolades from Bandcamp, Brooklyn Vegan, the FADER, Pitchfork, Paste & Flood, “the band’s expertly executed art-rock sound is complete with droning guitars, frenetic chords, and angular melodies that make it impossible not to get up and move to” (Uproxx). “Slab” continues their perchance for mesmerizing dreamscapes and eerily addictive refrains on this homespun, transitional EP.
“The band’s expertly executed art-rock sound is complete with droning guitars, frenetic chords, and angular melodies that make it impossible not to get up and move to.”
Recorded by Nick Roeder in the band’s hometown of Louisville, Wombo’s new EP, “Slab“, is a loose, instinctual grouping of songs that gradually morph into sonic territory that’s at once familiar to those already indoctrinated with the band’s experimental doses of surrealist escapism; as well as sweeter, stripped-down shapes. Most of the guitar parts from the EP are scratch takes that fit both the dueling energies and intentional imperfections of the songs, with overlaid vocals recorded on the same day. The result is an of-the-moment snapshot of a band that’s both settling naturally into a sound all their own while still remaining in constant evolution.
The trio of Sydney Chadwick, Cameron Lowe and Joel Taylor sound more comfortable than ever, guiding the listener through a cohesive framework of peculiar hymns in a language only they can translate.
Primal Scream are digging into their archives for a new compilation release, ‘Reverberations (Travelling In Time)’ will be released on Friday 28th July. This is the Primal Scream debut album that never was: 16 perfectly crafted pop nuggets weighing in at just under 35 minutes.
This compilation comprises recordings from 1985 to 1986 and includes eleven previously unreleased BBC session recordings, along with all five songs from our first two Creation Records singles.
Out in July, the 16-track, 35-minute set takes a look at the band’s earliest years, comprising singles released via Creation Records between 1985 and 1986, as well as previously unreleased BBC radio sessions that they recorded around the same time.
It marks the first in a series of archive-focused releases that the band plan to put out through their own Young Tiki label. Watch the video for one of the compilation’s cuts, ‘Velocity Girl’, above.
Speaking about “Reverberations (Travelling In Time)”, Primal Scream frontman Bobby Gillespie said: “This music proves we really had something special going on back then. I’m very proud of this album. I’m glad these sessions are finally being released.”
Young Tiki will release “Reverberations (Travelling In Time)” on July 28th, 2023.
It will be available on limited edition clear vinyl (3000 copies), black vinyl (2000 copies), and a special gatefold CD edition (1500 copies), exclusively through the Primal Scream store.
Liam Gallagher – ‘Knebworth 22’ due on CD, Deluxe Box CD, Sun Yellow 2LP Vinyl or Black 2LP Vinyl.
Liam Gallagher will document his triumphant two-night Knebworth Park shows with the release of the live album ‘Knebworth 22’ on August 11th. Returning to the scene of the era-defining Oasis gigs of the ‘90s, the huge audience stretched from fans who had been present some 26 years earlier right through to teenagers relishing the excitement of their first big gig. ‘Knebworth 22’ is a must-have live album for any fan who wants to relive the experience.
The epic sold-out gigs, which saw 170,000 fans descend on Stevanage across the Jubilee weekend, mirroring the Manchester band’s historic duo of gigs in August 1996, cemented Liam Gallagher’s status as a stadium-filling solo act.
Liam Gallagher says of the release: “So we recorded the Knebworth gigs we did last year. We all sound Biblical, turn it up ENJOY, LGx.”
The former Oasis frontman is set to release “Knebworth 22”, which marks the duo of iconic solo gigs he played at the hallowed grounds on 3rd and 4th June 2022. Alongside the announcement comes a live video of Roll It Over, which originally featured on the Oasis album “Standing on the Shoulder of Giants”.
Also featuring on the record are live performances of Liam’s solo tracks “Shockwaves”, “Everything’s Electric”, “Come On You Know”, “The River” and “Once” alongside Oasis classics such as “Rock ‘n’ RollStar”, “Supersonic”, “Cigarettes & Alcohol”, “Wonderwall” and “Champagne Supernova”.
We’re absolutely delighted to announce that we have a very limited Dinked Archive Edition incoming to celebrate the iconic Cranes. The first in a series of archival releases, the band’s “John Peel Sessions” are collected together for the first time and it’s been a joy to work with the band on a lush package to celebrate. Kicking off this new “John Peel Sessions 1989 – 1990”, the first in a series of archival releases from the most wonderful Cranes. The sonics they create are pretty thrilling, big reverbs and such space. The reissue is on their own Dadaphonic label and features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg.
Formed in mid-1980’s Portsmouth by the brother and sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) and Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with “Fuse”, a self-released and now highly sought-after cassette of demos. Their debut album “Self-Non-Self”followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 and 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) and Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, “Forever”, which enjoys it’s 30th anniversary this year.
The Fat Angel Sings 