The Fat Angel Sings

We are so so so excited to tell you that our new album, ‘Here Is Everything’ is coming on October 14th!! This album has been on such a huge journey with us and we cannot wait to finally share it with you all The Big Moon return their new album, “Here Is Everything” and it’s theme is motherhood, parenthood, birth, lockdown, friendships and love.

Like so many records landing in store and on streaming services right now, “Here Is Everything” was conceived during the weight and worry of lockdown in a pandemic. Worlds were turned upside down and inside out. Lives became seismically different, whilst every day a carbon copy of the last. So, whilst Covid pulled the duvet tightly up over our heads and sat on it whilst we muffle-screamed that we could not breathe, it was also the unlikely backdrop to welcoming new life. Vocalist Juliette Jackson might have started lockdown teaching fans how to play guitar on Zoom to help pay the rent (including, to her eternal bemusement, one Courtney Love), she ended it as mother to a super little human being.

“Here is Everything” documents the arrival of that fragile but mighty baby in real time, and the excitement and fear felt by this fragile but mighty mother. Meanwhile, the rest of the band doubled-down in the studio, taking Jules’ embryonic song frameworks and stepping forward as one, revelling in an innate, giddy togetherness and with a clutch of genuinely fantastic tunes.

The record was introduced by “Wide Eyes”, a pure, uplifting song of collective jubilance. It sounds like a band in the form of their lives, having the time of their lives, and against all the odds. It sounds instantly like The Big Moon whilst sounding unlike any of the music that’s gone before it.

“Here Is Everything” was mostly self-produced, with the expert guidance and expertise of Adam Cecil Bartlett (Self Esteem, Jehnny Beth, PJ Harvey) and the Grammy Award winning producer Ben Allen (Gnarls Barkley, Deer Hunter, and the producer of Walking Like We Do)

The New Album ‘Here Is Everything’ • Out 14th October.

Addy Harris – caught the attention in 2019, with her excellent debut EP ‘When You Wake Up’.

Drawn into the orbit of 6131 Records, work started on her debut album, and the results are due shortly. Rat Tally will release debut LP ‘In My Car’ on August 12th, and it features Jay Som and Madeline Kenney. She’s introducing it with “Spinning Wheel,” a sighing and melodic one about wanting to get a rise out of someone: “I wish you would scream at me/ At least then I could say a few things/ I was ready on sight/ But you brought a ghost to a fist fight.”

The new song ‘Spinning Wheel’ is excellent, Reflective, it whirls through a number of gorgeous landscapes and memories, before reaching that succinct, absorbing conclusion., a fully realised, gripping piece of indie pop that recalls Soccer Mommy or Julien Baker.

For fans of Lucy Dacus and Soccer Mommy who are sure to find something to love in Addy Harris’s intimate indie rock confessionals. Rat Tally (Addy Harris) Writing sad music for sad people. Or happy people. Or whoever.

Plenty is made of London band High Vis mixing hardcore, a style they dealt in previously, with Creation Records-era indie. “Fever Dream,” however, puts all of its chips on the latter with jangly guitars and frontman Graham Sayle’s sugar sweet vocals taking things back to 1996. Is this the start of a Britpop revival?. High Vis announce their new LP ‘Blending’ with “Fever Dream” – pre-order on limited edition color vinyl at https://found.ee/Blending “The Fever Dream video was shot over the course of three years and assembled as a kaleidoscopic document of the highs and lows of life as a band. Through intimate studio, tour and live footage we were aiming to capture the essence of a band bridging the gap between nostalgic reflection and newly realised optimism. It’s the sound of summer in the capital; chaotic nights blending into aimless days.”

High Vis were formed in 2016 from the ashes of some of the UK’s best hardcore bands. Gold-toothed frontman Graham Sayle’s anguished lyrics about life in working class Britain were familiar to fans of Tremors’ full-throttle thrash, but alongside his former bandmate Edward ‘Ski’ Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.

Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis’ 2019 debut album, “No Sense No Feeling” showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020’s synth-driven EP, “Society Exists“, was further evidence of the band’s restless creative MO.

High Vis’ second album “Blending” sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.

From the anthemic sweep of opener “Talk For Hours”, through the title track’s psychedelic swirl and “Fever Dream’s” baggy groove, it sees High Vis’ sound blossoming into something with an unlimited richness.

The hazy drift of “Shame” or the melodic jangle of “Trauma Bonds” may take them until uncharted waters, but they still have all the power and bite that made “No Sense No Feeling” so remarkable.

Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle’s lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle’s lost not of that social consciousness, but he’s looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope. 

releases September 9th, 2022

Kati Malison has a great voice, the kind that make her band Doll Spirit Vessel stand out from the crowd.

Doll Spirit Vessel try to outrun their old beliefs on “Train Brain Rot.” The single marks the first release from their debut, “What Stays” , via Disposable America. An identity crisis disguised as inconspicuous indie rock, “Train Brain Rot” sees bandleader Kati Malison second-guessing some of her strongest convictions. Trying to resist the comfort of being defined, Malison pushes herself to reassess “the stories we tell ourselves about who we are and how little they serve us sometimes,” she says in a statement.

The band’s DIY ethos appears in the accompanying music video, co-produced by Malison and Jon Cox (Sadurn, Mother Moses). Malison sprints through the darkness in a sporty get-up as she tries to dodge the obstacles her friends hurl at her, downs a beer and deters her competition by throwing a few elbows. Even after cutting the finish line with what appears to be safety scissors, she doesn’t stop to catch her breath, but rather continues to run in never-ending circles.

Listen to her wail on “Train Brain Rot,” which will feature on “From What Stays“, out August 12th.

“From What Stays” out August 12th, 2022 on Disposable America Written by Kati Malison

Performed and arranged by Kati Malison, Max Holbrook, and Lewis Brown
Drums on “What Stays” and “Small Mass” by Pepe Hidalgo
E-drums on “Small Mass” by Peter Geiser
Backing vocals on “What Stays” and “Mirrors” by Sophie Goldberg
Horn on “A Light” by Heidi Aispuro

The third album for Matt Berry’s pseudo-eponymous project. Loss and desire take centre stage as Berry delves deep into 21st century malaise, crafting densely layered songs which project an unshakable yearning for deliverance from the world’s shortcomings.

Each track extends an outstretched palm towards universal connection, blending a complex mix of pop hooks, rock swagger, and psychedelia into dejected populist anthems.

On his lead single “Prime”, Berry channels the simple pop mastery of Lindsay Buckingham. Getting older, I’m getting older, he restlessly croons as he takes jabs at the moral laziness of aging millennials, expressing his yearning for a return to vitality and conviction.

With High Flying Man, Berry embraces undying love in the face of isolation. Daring to want more life becomes a spiritual rallying cry against a world that has failed to make life either meaningful or beautiful. At their core, these songs are not about revolution, but they are about the faith that gives something like revolution a purpose in the first place.

“Prime” by The Berries, from the album ‘High Flying Man’ out August 19th, 2022 via Run For Cover Records

Today we’re sharing two new songs from Turnover, returning with their first music in almost three years. Join the band on a dizzying journey in the music video for lead single “Wait Too Long” and the psychedelic b-side “Mountains Made of Clouds”. The passing of time is on vocalist Austin Getz’ mind in Turnover’s latest single “Wait Too Long.” Groovy drum & bass, jangly guitar and unforgettable synth soaring over the choruses are a dizzying combination of new sonic elements and the band’s disposal to further evolve the sounds and moods explored on Turnover’s last two albums, “Altogether” and “Good Nature“. And while the festival-ready, psychedelic sway of the song makes it feel both calm and cool, the song’s true intention is about the difficulty of maintaining close relationships, both in friendship and love.

Turnover make perfect summer music. Sometimes you just want to embrace the heat and vibe to something assured and cooling, that’s “Wait Too Long.”

The swirling psychedelia of “Mountains Made of Clouds” makes the song feel like a brief but enchanting hallucination. Chirping birds, oscillating synthesizers and leisurely guitar leads create an all-encompassing atmosphere that add to the song’s ethereality. At its heart, “Mountains Made of Clouds” is a song about painful goodbyes, masked in escapist imagery about transcending sadness by somehow floating above it, as vocalist/guitarist Austin Getz mournfully recalls “Watching stars all disappear / from above you even nights the sky is clear / the warmth of tears behind your eyes / from the long and sad goodbye”

Turnover’s hitting the road starting on June 11th for a West Coast run that includes dates with Healing Potpourri and Temple of Angels. They’ll have a limited edition 7” with both of these songs on it, only available from the band for now.

“Wait Too Long/Mountains Made of Clouds” by Turnover, out now via Run For Cover Records

Ekkstacy’s moody goth rock is clearly indebted to godfathers The Cure and The Smiths, bringing melodrama and gloom to the party. You don’t write an opening line like, “Sitting on Mulholland drive, Waiting for my tears to dry” if you don’t know what you’re doing.

EKKSTACY unveiled his debut album “Negative” in the latter stages of 2021 and immediately showed his expressive class, undying charisma and commanding presence his soundscape possesses. The Vancouver based indie star blended the early 2000’s era of emo rock with the thrilling guitars of classic Brit rock and insatiable hooks from contemporary indie pop, giving his music a fresh taste that was completely his own. It was an utterly outstanding debut album, compelling in every way imaginable and made you contemplate the meaning of the artistic project long after it was finished playing.

With all of this being said, it should come as no surprise that his first offering in 2022 is another jewel to add to his back catalogue.

EKKSTACY – ‘I Gave You Everything’ is Out Now!

In this time of strife, insanity and confusion, only one band is depraved enough to offer themselves up as herald. Like sin-eaters if sins had to be ingested from a very small spoon, Viagra Boys have consumed the utterly incomprehensible chaos of our era and distilled it into 12 immaculate tracks of post-truth-cow-funk-kraut-wave-enlightenment.

This album is a pure feral attack and an absolute immense release. “Cave World” — Out now via YEAR0001, YEAR0001 is a multidisciplinary record label, management and creative studio founded in Stockholm in 2015. Our vision is to act as an independent incubator active in the landscape of music, culture, fashion and technology.
We believe in using transparency and co-creation to achieve a more sustainable landscape for our artists and creators.

Yeah Yeah Yeahs are back and Karen O is still the master of an evocative song title. Perfume Genius joins the party for a comeback single that dials down the Yeah Yeah Yeahs punk spirit and ramps up the atmospheric bombast. The change suits them.

It could only be called alchemy, the transformative magic that happens during the Yeah Yeah Yeahs’ most tuned-in moments in the studio, when their unique chemistry sparks opens a portal, and out comes a song like “Maps” or “Zero” or the latest addition to their canon, “Spitting off the Edge of the World” — an epic shot-to-the-heart of pure YYYs beauty and power. “It’s really awe-inspiring to watch the process of Karen’s melodies and lyrics just coming to her, right there,” says guitarist Nick Zinner. “Like, ‘what the fuck, where did that come from?’ When it strikes her, it’s the most incredible thing.”

“The look on Nick’s face when that happens,” Karen O says, with a laugh, “it’s primo, man. I know I’m onto something because I can tell it’s hitting him somewhere in his soul. We’ve been doing this together so long, and there are moments when the song comes from God-knows-where, and it feels like there’s a change in the air quality, in the atmosphere, like when it’s about to thunderstorm.”

A thunderstorm of a return is what the legendary trio has in store for us in 2022, with the release of “Cool It Down”, their first new music since 2013’s “Mosquito“. Their fifth studio album is an eight-track collection, and an expert distillation of their best gifts that impels you to move, and cry, and listen closely and is bound to be a landmark in their catalogue.

They never expected it to be so long between albums, and they certainly had stayed busy: There was a tour for their 2003 debut album, “Fever to Tell” that was re-issued in 2017; Karen released an album with Danger Mouse (Lux Prima, 2019) and co-composed the score for the animated film “Where Is Anne Frank?; Nick made an album with his hardcore side-project Head Wound City, scored Films, and collaborated with artists including Phoebe Bridgers, Amen Dunes and Songhoy Blues, Brian started his own label Chaiken Records. Karen and drummer Brian Chase both became parents in recent years.

She and Nick got together in spring of 2021 to give it a try. “We started playing music and it just came flooding out of us,” Karen remembers. Their longtime collaborator Dave Sitek (“basically a fourth member of the Yeah Yeah Yeahs, at this point”) had shared some tracks he’d set aside, including the framework for “Spitting Off The Edge of The World,” and Karen connected with it right away. “When I heard the opening line, it felt like a waterfall,” she says. “[David] Bowie came to mind immediately. Sitek was actually friends with Bowie, and it felt like he was tuning into that frequency of artistry. And so when I was writing the lyrics and the melody, that’s who I was trying to tune into, as well. Because I’ve never tried to evoke Bowie before. But he’s gone now, and there’s a big, gaping hole.” And when she imagined another voice joining hers on the tune, the idea to invite Perfume Genius’s Mike Hadreas felt obvious. “Mike really has a bit of Bowie in him,” she says. “He was literally the first and only person that came to mind for it.”

Perfume Genius also co-stars alongside Karen in the visual for “Spitting,” as an avenging angel limo driver to her desert rebel queen. The visual was directed by another long time YYY’s collaborator, Cody Critcheloe (aka Ssion), who designed the artwork for “Fever To Tell” and also directed Perfume Genius’s amazing “Queen” video.

Yeah Yeah Yeahs – Spitting Off the Edge of the World ft. Perfume Genius (Official Video) from the upcoming album ‘Cool It Down’, out September 30th.

Any year with a new Alex G album is a good one and this is shaping up to be the singer-songwriter’s most confident project yet. “Runner” will feature on the forthcoming album “God Save The Animals“, out September 23rd via Domino Recordings. The announcement comes along with new single “Runner” and its accompanying video. The video was shot by Aldo Fisk and features an affectionate performance by Giannascoli and his bandmates Sam Acchione, Molly Germer, John Heywood, and Tom Kelly.

Filtering his experiences through fact and fiction, Giannascoli also opened up the songs through a more practical method: collaboration. “God Save the Animals” features several individual contributions from his bandmates and frequent collaborator Molly Germer on strings and/or vocals. As with records since his adolescence, Giannascoli wrote and demoed the songs of “God Save the Animals” by himself, at home; but, for the sake of both new tones and “a routine that was outside of my apartment” during the pandemic, he began visiting multiple studios in greater Philadelphia. “God Save the Animals” consequently features the work of some half-dozen engineers whom Giannascoli asked to help him produce the “best” recording quality, whatever that meant. The result is an album more dynamic than ever in its sonic palette and its thoroughgoing complexity. 

Alex G – the Philadelphia singer, songwriter, and producer Alex Giannascoli – returns with new album the first track released is “Blessing.” The track was produced by Giannascoli and his longtime collaborator Jacob Portrait and comes with an accompanying video directed by Zev Magasis. “God Save the Animals” “Blessing,” which received praise from NPR (“delightfully weird, minimalist and dark, it doles out many curiosities over its three short minutes”) and the New York Times (“His predictable unpredictability strikes again… the whole thing is eerie, hypnotic and, somehow, strangely moving.”) 

Alex G’s last album “House of Sugar” was named one of the best albums of 2019 by Pitchfork, The Guardian, GQ, American Songwriter, Stereogum, Consequence, and Esquire, who called it “a layered, ever-changing work from an artist who seems to have no limits in taking his music anywhere his imagination can go.” This spring he released his first-ever film score for Jane Schoenbrun’s We’re All Going to the World’s Fair, earning praise from outlets including the LA Times, who wrote, “Alex G’s melancholic guitar-centric score hypnotizes.” 

Band: Sam Acchione, John Heywood, Tom Kelly