The Fat Angel Sings

Black Belt Eagle Scout’s forthcoming album, “The Land, The Water, The Sky”, is out February 10th. As previewed in lead single “My Blood Runs Through This Land,” the album is a love letter to indigenous strength and healing, and a story of hope, as it details the joy of returning. Today, Black Belt Eagle Scout presents a new single/video, “Nobody,” a song uplifting representation, nestled comfortably in an album about home.

Thrumming percussion gives way to swelling licks of electric guitar, and in the more mellow moments, Katherine Paul’s voice resonates: “Nobody sang it for me like I wanna sing it to you.” The “Nobody” video was filmed and edited by Evan Benally Atwood, and continues to build on the ongoing creative collaborations between Atwood and Paul.

Of the song, Katherine Paul says: “When I was growing up, I didn’t have very many Native role models to look to on TV or the radio. It was within my own community that I found inspiring role models through our elders and our community leaders.

With Native representation in music and television slowly growing, I often ask myself where I stand within representation in music and how I want to be seen. This song is about the relationship I have with my own representation in music. A day spending time with family and the land are what brings Indigenous joy within the music video for “Nobody.” We see the love that Indigenous families have and the laughter that brings us together. Evan’s work in capturing the meaning of kinship is incredible.”

“I love the chorus,” says Evan. ““Nobody sang it for me like I wanna sing it to you” to me, it says a lot and inspired this idea of seeing three generations of women care for each other and create joy together. It is healing experience to spend time with the land and laugh with family.”

This land runs through Katherine Paul’s blood. And it called to her. In dreams she saw the river, her ancestors, and her home. When the land calls, you listen. And KP found herself far from her ancestral lands during a time of collective trauma, when the world was wounded and in need of healing. In 2020 she made the journey from Portland back to the Skagit River, back to the cedar trees that stand tall and shrouded in fog, back to the tide flats and the mountains, back to Swinomish.

It is a powerful thing to return to our ancestral lands and often times the journey is not easy. Like the salmon through the currents, like the tide as it crawls to shore this is a story of return. It is the call and response. It is the outstretched arms of the people who came before, welcoming her home. “The Land, The Water, The Sky” is a celebration of lineage and strength. Even in its deepest moments of loneliness and grief, of frustration over a world wrought with colonial violence and pain, the songs remind us that if we slow down, if we listen to the waves and the wind through the trees, we will remember to breathe. 

There is a reimagining of Sedna who was offered to the sea, and a beautiful rumination on sacrifice and humanity, and what it means to hold the stories that work to teach us something. 

Chord progressions born out of moments of sadness and solitude transform into the islands that sit blue along the horizon. The Salish Sea curves along her homelands, and when the singer is close to this water she is reminded of her grandmother, how she looked out at these same islands, and she’s held by spirit and memory. 

This is a story of hope, as it details the joy of returning. Katherine Paul’s journey home wasn’t made alone, and the songs are crowded with loved ones and relatives, like a really good party. And as the songs walk us through the land it is important we hover over the images and the beauty, the moments that mark this album as site specific. The power of this land is woven throughout, telling the story of narrow waterways, brush strokes, salmon stinta, and above all healing. 

Back in the ’90s, there wasn’t much in common between Supergrass and Radiohead, aside from their Oxford roots. As Gaz Coombes has matured, however, his music has morphed closer to that of Thom Yorke and co. “World’s Strongest Man” is Coombes’ third album away from his former group, and it continues his voyage towards a more soulful, experimental and serious sound.

Supergrass always took inspiration from Bowie, but there are some wonderfully warped electronic soul cuts here, a little like something from Station To Station or Heroes – “Deep Pockets’ motorik funk, say, or “Walk The Walk’s” grooving drones, with Coombes trying out his best lip-curling falsetto a la Josh Homme.

Elsewhere, there are a host of ballads that evoke Radiohead’s slower, more mournful moments: “Slow Motion Life” suggests the singer has been listening to “Pyramid Song”, his voice thin and keening like Yorke’s, while “Weird Dreams” mixes atmospheric drum machines and electronics, a chorus of Coombes’ and, finally, a stately, plodding piano.

That’s not to suggest that “World’s Strongest Man” is just a faux-In Rainbows. With glockenspiel, sampled vocals and warped strings, “Shit (I’ve Done It Again)” sounds like nothing Coombes has ever attempted, and is reminiscent of the slow, vocoder-led groove of prime Air, with Coombes singing: “Anyone can be the star…” In Waves” suggests what Supergrass might have sounded like if they were still together, with a garagey guitar riff, fragmented bass, off-kilter drums and massed harmonies in constant movement throughout. The title track, meanwhile, is a circling delight, with Coombes examining the nature of masculinity over a rising, distorted crescendo of slow, guitar-led funk.

As a whole, “World’s Strongest Man” may not quite have the effervescent pop chops of Supergrass’ best work, but it’s Coombes’ finest effort so far as a solo artist, and comes with its own austere, but no less powerful, charm.

‘World’s Strongest Man’ is a bold, ambitious, free-thinking, future-facing rock’n’roll record.

An unprecedented 147 track Marc Almond live celebration! 73 of the tracks appearing on CD for the very first time as part of this unparalleled package of over 10 1/2 hours of music. A 10 CD deluxe box set available for a strictly limited period. Featuring rare and stunning landmark mid-career concert recordings performed by Marc Almond. In a specially designed art box with an exclusive illustrated fold out credits poster with each concert’s discs packaged in their own individually designed sleeve. 

Though the sleazy electro-pop of Soft Cell has forever been endearing and gone darkly beyond the genre’s norm, vocalist Marc Almond’s solo leaps into tortured, self-penned cabaret, toreador soul, and gothic pop has been even more dramatic. I’ll leave you with the notion of Edith Piaf and Rufus Wainwright playing Russian roulette with each other at a café in Paris with Lotte Lenya as the event’s referee.

Released December 16th, 2022.

73 of the tracks appearing on CD for the very first time as part of this unparalleled package of over 10 1/2 hours of music.

A 10 CD deluxe box set available for a strictly limited period.

Featuring rare and stunning landmark mid-career concert recordings performed by Marc Almond.

DISC ONE: Marc Almond – Live At Liverpool Philharmonic Hall, June 1992 [16 tracks, 66 mins]

DISCS TWO & THREE: Marc Almond – Twelve Years Of Tears – The ‘As Live’ Video Soundtrack
– Royal Albert Hall – September, 1992 [21 tracks, 121 mins]

DISC FOUR: Marc Almond – Live At Leicester Cathedral, February 2000 [16 tracks – 67 mins]

DISCS FIVE & SIX: Marc Almond – Live At The Union Chapel, December 2000 [22 tracks – 97 mins]

DISCS SEVEN & EIGHT: Marc Almond – Sin Songs, Torch & Romance – Live At The Almeida Theatre, July 2004 [35 tracks, 131 mins], never previously released on CD

DISCS NINE & TEN: Marc Almond – Bluegate Fields – Live At Wilton’s Music Hall, May 2008 [27 songs, 140mins]

‘There is talent and there is skill, but there’s a certain amount of magic attached to songwriting.’ – Paul Weller

“Magic: A Journal of Song” is a fascinating portrait of one of Britain’s most prolific songwriters. Magic combines a selection of over 100 lyrics from across Paul Weller’s musical life, proving him to be the ultimate shapeshifter: from The Jam’s punk sensibilities to the genre-defying Style Council, through to a remarkable 30-year solo career. His third Genesis edition, Magic is narrated by Weller and illustrated with more than 450 photographs and pieces of ephemera throughout. A revealing commentary garnered over a series of conversations with journalist and author Dylan Jones covers the songs, the stories and inspirations behind them, and all of the 28 albums of Weller’s ever-evolving musical journey.

‘As a songwriter, Paul Weller has proved that he is not only beyond reproach, in some senses he is quite possibly without equal.’ – Dylan Jones

‘The thing I have discovered is that music in its truest sense is beyond any trend or movement or category.’ – Paul Weller

The photography featured is pulled from a range of never-before-seen negatives and iconic shoots that chronicle Paul Weller in detail throughout his extraordinary career. 

From the early days of The Jam, when the band played local talent competitions in Woking, through to performing in London, Tokyo and New York, Magic captures both the energy of their live shows as well as behind the scenes, in the studio and backstage. Later experimental images of The Style Council in Normandy and Paris recall the band’s European influences. Weller’s extensive solo career is documented by a range of photographers and friends, whose work shows Weller rediscovering himself as an artist. 

Photography by globally recognised photographers is presented, including Janette Beckman, Julian Broad, Anton Corbijn, Jill Furmanovsky, Nick Knight, Mary McCartney, Pennie Smith, and many more. Together, their photographs capture historic performances, rehearsals, video shoots, and studio sessions. 

Each album is personally introduced by Weller, alongside the album artwork and photoshoot outtakes.

‘First and foremost, I try to satisfy something inside myself. And if other people get it and they share in it? That’s fantastic.’ – Paul Weller

Offering unprecedented insight into his creative process, Weller’s personally curated selection of over 100 song lyrics is accompanied by an illuminating commentary of over 25,000 words. As told to journalist and author, Dylan Jones, Magic: A Journal of Song presents Weller’s most candid and intimate account of his musical life to date. From founding The Jam as a teenager, through his time as one half of The Style Council, to his years as a solo musician, Magic is Weller’s definitive document of his songwriting career. 

Paul Weller is an award-winning musician with a career spanning almost 50 years. He has been an integral part of the British music scene since the early 1970s, when he founded The Jam. Following this, he teamed up with keyboardist Mick Talbot to create The Style Council, in which political statements were aired to nostalgic, summer-soaked melodies, and has gone on to have a hugely successful solo career. As a songwriter, Weller is considered on par with artists such as Paul McCartney and David Bowie and has received awards from the BRITs (Lifetime Achievement Award), NME Awards (Godlike Genius Award) and a GQ Award for Songwriter of the Year. 

‘Over the years, he has developed an encyclopaedic knowledge of dozens of different genres. But more importantly, he still writes and performs with the enthusiasm of a teenager.’ – Dylan Jones

Supergroup The Smile featuring Radiohead members Thom Yorke & Jonny Greenwood and Sons of Kemet drummer Tom Skinner amazed with their long-awaited debut LP “A Light For Attracting Attention” last May. An entrancing and riveting work
with Yorke at is feverish and vulnerable best.

To keep the momentum going the band shared a live album “Live At Montreux Festival – July 2022” a few months later.
It’s clear that The Smile was not a one-off project.

Two days ago they played a 3-songs Tiny Desk set (live concerts hosted by NPR Music at the desk of All Songs Considered host Bob Boilen in Washington, D.C.)

Setlist: “Pana-vision”, “The Smoke”, “Skrting On the Surface”

Originally released in 1975, “No Heavy Petting” is UFO’s fifth studio album and the last to be produced by Ten Years After’s Leo Lyons. Stepping up from the rawer sound of “Force It”, the album was their first to feature a permanent keyboard player in the band and gave a nod to what was to come. The album includes a number of tracks that were to become staples of their live set for many years, including “Natural Thing” and “I’m A Loser”
This newly remastered clear vinyl 3LP gatefold deluxe version includes the Roundhouse 1976 live set previously unavailable on vinyl.

A classic rock album from ‘75, “No Heavy Petting” . The album includes the classic tracks “Highway Lady”, “Belladonna”, and “I’m A Loser”. Chrysalis Records now presents the 2023 remaster, across two exceptional expanded formats with both including the Live At the Roundhouse 1976 concert.

Night School is so excited to share “Anything“, the first single from “Love As Projection“, the new album by Frankie Rose. Resplendent with a glorious pop chorus, layers of textured harmony and a giddy immediacy, Anything is one of the catchiest and endorphin-generating songs you’ll hear this year.

“Love As Projection” signals Frankie Rose’s emergence into the realm of contemporary electronic pop, a rebirth for one of the most respected songwriters in the underground. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career. After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Frankie Rose returns with a fresh form, aesthetic, and purpose embodied in her new album “Love As Projection.” Celebrated by countless critical and cultural outlets over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, “Love As Projection” is a reintroduction of her iconic style through the new lens of contemporary electronic pop.

Featuring beautiful, ethereal songs like lead-off single “Anything,” “Sixteen Ways” and “Come Back,” this album is more than a rebirth, a refinement, a resurgence – it’s a culmination of influence and the most personal and accessible collection of art-pop that Frankie has delivered yet.

More than a resurgence, “Love As Projection” boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track Anything, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop (think peak Belinda Carlisle) with the cult effervescence of Strawberry Switchblade “It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,” says Rose.

“Love As Projection” is released on March 10th 

Crystalline crooners The Lemon Twigs returned with a new single called “Corner of My Eye,” which serves as their first new release since 2020’s “Songs for the General Public“. The track is a dreamy Beatles-esque ballad about falling into a new romance post-heartbreak. “But how much loneliness can a man take / Before he tries to take the reins,” goes one standout lyric delivered in soaring falsetto.

“We recorded this track winter of 2021 in our old rehearsal studio in Midtown, NYC,” the band—made up of brothers Brian and Michael D’Addario—said. “Apart from the vibraphone, the instrumental track was recorded live with Andres Valbuena on drums and Daryl Johns on upright bass. We laid down the vocals late that night once the traffic outside had died down. We’ve had the song for a while now, so we’re excited to share it with fans who may have heard it live over the years!”

The single also comes with video directed by Hilla Eden and the band’s Brian D’Addario, which takes place in a cemetery. Spooky or romantic? They do say, “’til death do us part.” Maybe it’s a metaphor for a life-long bond; maybe it’s something a bit more cryptic. 

With a style that borrows from the likes of Judas Priest, Thin Lizzy, Iron Maiden, Black Sabbath and Lynyrd Skynyrd, White Reaper stand out primarily for their power-pop enthusiasm and classic guitar-rock ethos.

“Might Be Right”, from the LP “You Deserve Love” (2019), offers a peppy but layered guitar sound and hop-along rhythm that will take listeners back to the most optimistic days of ’70s-era rock.

White Reaper are releasing a new album titled “Asking for a Ride”, the follow-up to 2019’s “You Deserve Love”, on January 27th via Elektra Entertainment. We’ve already heard the singles “Pages” and “Fog Machine,” and today they shared another new track called “Pink Slip,” which is a raw admission about growing pains. “Grow up so slow / Hard to believe us when we grow up so slow,” goes the chorus alongside serrated, reverb-soaked guitars. “Part of me is off to sea / The other half is waiting to come home,” goes another poignant lyric. There’s speck of rock nostalgia hidden in “Pink Slip,”

if there’s one surefire way to start your Shaky Knees weekend off right, it’s with White Reaper’s Friday afternoon set. The Louisville, Kentucky, quintet are known for their hooky, high-energy rock, a natural fit for arenas and the garage alike. Their three albums to date 2015’s “White Reaper Does It Again”, 2017’s “The World’s Best American Band” and 2019’s “You Deserve Love” have consistently satisfied,

But it’s White Reaper’s live show that really sets them apart: “The cliché ‘They’re better live’ was invented for bands like White Reaper,” wrote Zach Schonfeld in his review of the band’s second LP for Paste. “The records are good, but onstage is where the band’s wonderfully scuzzy blend of pop-punk and garage rock goes stratospheric.” You couldn’t ask for a better Day 1 shot of adrenaline.

White Reaper’s official video for their new track ‘Might Be Right’ – from the album, “You Deserve Love”, available now.

The power-pop revivalists’ fourth album “Asking for a Ride” arrives January 27th via Elektra Entertainment.

Rozi Plain is preparing to release her new album “Prize” due out January 13th. She’s already shared a few singles, including “Agreeing for Two,” “Prove You’re Good,” and “Help.” Today, she’s shared another one titled “Painted the Room,” which follows suit in its delivery of cool-and-collected rhythm and unbothered vocal tone as Rozi Plain sings lines like “Painted the room black / You’re not going back.”

“I think this is a sort a celebration song dedicated to scummy situations retreating—relief when you are able to have the clarity and freedom to just trot off!” Plain explained. “It changed so much from how it started and took a couple of hilarious and surprising-to-me new turns. Then we just deleted the guitar. Then I went to Danalogue’s (from The Comet Is Coming and Soccer96) studio and he topped it up with some of his trademark good ear good vibe.”

The video that accompanies the single was filmed with Alabaster dePlume during a recording session at London event and studio space Total Refreshment Centre two days before Christmas. “This song is about freeing yourself up so I guess I just wanted the visual to feel not too precious. I really like how the split screen distracts you just enough to focus in the right way and notice coincidences and cosmic moments in the two images playing together. It also feels very good to capture a moment with sweet friends in a place so full of heart like The Total Refreshment Centre.”

Her new album “Prize” is out January 13th via Memphis Industries.