The Fat Angel Sings

For more than a year now, London’s Black Country, New Road has patiently teetered on the cusp of success. The seven-piece experimental rock outfit emerged from relative anonymity in 2019 with just two songs, and publications from the New York Times to the Guardian quickly embraced them. The Quietus even declared the group “the best band in the world.” 

With a visceral sound that melds post-rock, jazz, post-punk, and even klezmer into dynamic compositions, the band would soon sell out shows across the country, book international festivals, and land a record deal with independent stalwart Ninja Tune. Then the pandemic hit, delaying the release of their debut album “For the First Time” for a year. 

Despite a refreshingly opaque social media presence (the band only posts stock photos), the disruption hasn’t detracted from the hype — and might have even been a blessing in disguise. “For the First Time” arrived at the top of 2021 as a thrilling palate cleanser from the nostalgia and inertia that characterized much of the pandemic music experience. The record feels urgent and wild, a document of raw youth, generational disillusionment, and the hollow excesses of late capitalism that bristles with tension, intelligence, and a smirk.  

It’s also a fine middle finger to today’s short attention spans, with long tracks that grip you till the end. The nearly nine-minute “Sunglasses,” for example, shape-shifts from ruminative post-punk into an orchestral ballad before collapsing into cacophony and reassembling as a dance-punk invective. 

“I am so ignorant now, with all that I have learnt,” singer-guitarist Isaac Wood howls and pants into the bridge. “I’m more than adequate / Leave Kanye out of this / Leave your Sertraline in the cabinet / And burn what’s left of all the cards you kept.” We’ll bring the matches. 

Cerebral song writing and sheer catharsis both come naturally to South London seven-piece Black Country, New Road. Ever referential, lead singer Isaac Wood namechecks scene mates black midi on “Track X” and quotes Phoebe Bridgers’ “Motion Sickness” on their standout single “Athens, France” with trademark tremor in his voice as he intones, “Why don’t you sing with an english accent? Well, I guess it’s too late to change it now.” At the same time, songs like “Opus” jangle the nerves with ebbs and flows of energy that refuse to let up. Their aptly titled debut For the first time, with fewer tracks than band members, proves a rollercoaster of noise-rock and jazz. This powerhouse needs to be seen live to be believed.

The skyrocketing septet Black Country, New Road found their band name using a random Wikipedia page generator. With singles like 2019’s “Athens, France” and “Sunglasses,” and last year’s “Science Fair,” the U.K. up-and-comers are growing and changing before our eyes. On their debut album “For the first Time”, frontman Isaac Wood’s hypnotic speak-singing shifts subtly away from “speak” and towards “sing” so as to more effectively meld with the band’s mercurial instrumental outbursts. Their thunderous post-punk, spiked with discordant jazz and bookended by klezmer squalls, feels both explosively raw and carefully, ingeniously crafted. 

Slang, the Portland group that includes Janet Weiss (Sleater-Kinney, Quasi), Drew Grow (Modern Kin, Pastors’ Wives), Kathy Foster (The Thermals), and Anita Lee Elliot (Viva Voce), started in the mid-2010s, but between Janet getting in a car accident and the pandemic, they’ve been a little slow out of the gate. That’s about to change with the release of their debut album that also features appearances from Sam Coomes (Quasi), Stephen Malkmus, Mary Timony (Helium, Ex Hex, Wild Flag) and more. The songs released from it so far ooze grit and drama , and we can’t wait to hear the rest.

Slang’s debut “Cockroach in a Ghost Town” is a force of nature that came, seemingly, out of nowhere. Lyricist/singer/guitarist Drew Grow and drummer/singer Janet Weiss started the band over a decade ago in Portland, OR—both having spent more than half their lives dedicated to making and performing music.

 The video was shot and edited by Janet Weiss. The song is off their upcoming album Cockroach In A Ghost Town out May 27 via Kill Rock Stars. 

A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut, “Growing Up“, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members—each with her own style and energy.

“The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage-punk group just for fun. Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown, where they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie. A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members — each with her own style and energy. A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit.”

A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit at L.A.’s DIY punk institution The Smell and Head in the Cloud festival goers at The Rose Bowl alike.

The Linda Lindas are stoked to unleash “Growing Up“. The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage punk group just for fun.

Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown.

Here they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie.

When the pandemic put a pause on shows, The Linda Lindas went on to self-release a four-song EP, make their own videos and grow a following beyond Los Angeles.

But they never expected or could have even dreamed that their performance of “Racist, Sexist Boy” for the Los Angeles Public Library in May 2021 would take them from punk shows to TV shows. A month later, when the school year ended and summer began, The Linda Lindas got to work on their first full-length LP.

Having written a mountain of new material individually while sheltering in place and attending class virtually, the band was more than ready to enter the studio where Mila and Lucia’s dad (and Eloise’s uncle and Bela’s “uncle”) Carlos de la Garza oversaw recording and production.

The Grammy-winning producer’s work includes Paramore, Bad Religion, Best Coast, and Bleached.

Joyce Manor officially announce their 6th studio album, “40 oz. To Fresno”, slated for release on June 10th, 2022. They also share “Gotta Let It Go,” the first single available today on all streaming platforms. Pairing sentimental lyrics with an aggressive bridge, the track emphasizes the “punk” in pop-punk and is the perfect re-introduction to the band.

It’s been four years since a new Joyce Manor album, their longest gap yet, and in fact, the band almost considered taking a break from music, but instead they wrote “40 oz. to Fresno“, which was produced by Rob Schnapf (who also helmed 2016’s Cody) and which is shaping up to be a return to the lean, no-frills sound of Joyce Manor’s early days.

Their latest project “40 oz to Fresno” to life thanks to singer/guitarist Barry Johnson’s desire to keep writing during quarantine. Produced by Rob Schnapf (Elliott Smith, Tokyo Police Club, Joyce Manor’s ‘Cody’,) mixed by Tony Hoffer (Beck, Phoenix) with Tony Thaxton of Motion City Soundtrack on drums, a sense of liberation lies at the core of this project. It’s strangely fitting that the title was taken from an auto-corrected text message about Sublime. Those types of happy accidents are all over “40 oz. To Fresno” and are worth the subsequent sonic hangover.

Vocalist Barry Johnson summarizes, “This album makes me think of our early tours, drinking a 40 in the van on a night drive blasting Guided By Voices and smoking cigarettes the whole way to Fresno.”

Since forming in 2008, the pop-punk group has proved time and time again that they capture listeners’ attention through their catchy yet thought provoking lyrics, and high energy shows. Although they have an established sound that reflects the energetic and gritty nature of the band which fans have come to expect, they push the limits by experimenting throughout the recording process.

Sounds great.

due 6/10 via Epitaph

Armed with three singles, Chicago trio gears up for their first release for Matador Records. The 7’’ release of “Billy/History Lesson Part 2” showcases their penchant for scuzzy guitar hooks and rich vocal harmonies. It’s the kind of nineties retro we can’t get enough of these days.

Matador signees. Chicago natives. Teenagers. Nu-gaze trio Horsegirl are preparing for a big 2022. Norah Cheng, Penelope Lowenstein, and Gigi Reece are as cool as any Gen-Z has ever—or will ever—be, and they’re making the kind of rock music that people who don’t pay enough attention say is dead.

Is this what it felt like when Sonic Youth first entered the scene? With exceedingly lo-fi releases like ‘Billy’ and the eerie ‘Ballroom Dance Scene’, Horsegirl prove that your favourites of old are not the end of the line. This is a band following the pedigree of acts like The Breeders and Slint, and they’re making their SXSW debut in 2022, so watch out for a lot more hype on the near horizon.

Horsegirl’s first release for Matador Records, “Billy” b/w “History Lesson Part Two” (Minutemen). Having only formed in 2019, and with merely three singles released so far, Chicago trio Horsegirl have quickly captured the ears and attention of fans and critics worldwide, garnering early critical acclaim from notable institutions such as Pitchfork, NPR, Stereogum, Sirius XMU, NME and BBC Music. On new single “Billy”, Horsegirl push their singular brand of innovative guitar music a step further, expanding their already enveloping wall of sound with three-part harmonies, swelling, overdriven guitars and unexpected tempo changes. Produced by the band and legendary producer John Agnello (Dinosaur Jr., Sonic Youth, Kurt Vile), the electrifying new track not only marks a significant evolution for the young group, but further solidifies Horsegirl as the exciting new bastions of alternative music.

Scuzzed-out lo-fi rock with an emotional core and an experimental edge

From: Illinois, USA, On the surface, it appears Horsegirl are merely making winsome lo-fi Indie rock, but when you take a long, hard stare into the fuzz, you’ll find a band of plunging emotional depths, the kind of hypnotic, entrancing song writing which comes around very rarely. Add to that the occasional foray into lush shoegaze wig-outs and you’ve got a band ripe to be adored.

Chicago trio Dehd are gearin up to release new album “Blue Skies” in May and they’ve just dropped this new song and video. “When I get too overwhelmed and I feel like my heart’s gonna break from all the sadness in this world I go for a walk,” says the band’s Jason Balla of the song’s origins. “The familiar streets of home pull me back to earth.

The Chicago trio Dehd follow up 2020’s well-regarded “Flower of Devotion” with their most considered work to date. Emily Kempf, Eric McGrady and Jason Balla made it at the same studio as “Flower of Devotion”, but tripling their studio time allowed them to flesh out their songs with synthesizers, drum machines and other new sounds. Don’t worry, they haven’t abandoned their DIY roots: singles “Bad Love” and “Stars” still sound raw and visceral.

Official music video for Dehd’s new song “Stars,” off of their forthcoming album ‘Blue Skies.’

1992 Blend takes us on a kaleidoscopic trip through what they used to call “Alternative Rock” (Or College Rock? Or Indie Rock?) via a selection of dusty-but-dynamic live tapes. This stuff may be 30 years old now, but in many ways, these sounds represent a gold standard for guitar-forward rock music, finding inspiration in the past, but with eyes still fixed on the horizon. Nevermind the Buzz Bin — dig into this.

Tracks:

Soon – My Bloody Valentine / Perfume V – Pavement / Sugar Kane – Sonic Youth / Dress – PJ Harvey / 1880 or So – Television / Find A Way – Wake Ooloo / Slash Your Tires – Luna / 8 Tall Ships – Swirlies / Two Step – Throwing Muses / Catch The Breeze – Slowdive / Ode to C.C. pt. 2 – The Flaming Lips / Railway Shoes – Robyn Hitchcock & The Egyptians / Safari – The Breeders / Kennedy – The Wedding Present / Looking For A Way Out – Uncle Tupelo / Farmer’s Daughter – Yo La Tengo

Leah Wellbaum has never been afraid of her own humility or honesty. But she’s never quite examined it the way she has now with “Parallel Timeline”.

On Slothrust’s latest album, bandleader Leah Wellbaum pushed herself to try and understand her own spirituality on a deeper level, putting a lens on the core wound of the human experience, the idea that we’re alone. With “Parallel Timeline”, Wellbaum explores the feeling of being trapped inside her own consciousness while simultaneously searching for a meaningful connection to the universe, and all the mysteries it contains.

In advance of recording their fifth studio album, Leah, along with drummer Will Gorin, sought to dramatically expand the band’s sonic palette. Slothrust put an emphasis on incorporating new production techniques and processes into the established Slothrust sound, resulting in an extraordinary amount of experimental demo recordings, many elements of which appear themselves on the final record.

They leaned into risk-taking — a freedom that comes with having been in a band together for more than 10 years, cultivating new sonic realms for each track.

Leah sought to craft unique and calculated guitar parts instead of continuous bursts of wall-to-wall sound, and in turn delivers what will likely be considered a “how-to manual” for guitar playing in the next decade.

Educated musicians all with backgrounds in classical, jazz and blues, the band’s newest work once again sees Slothrust leaning into improvisation — something that in the past has lent itself to the infectious energy of their live shows. “Parallel Timeline“, mixed by industry legend Billy Bush and mastered by Heba Kadry is a masterclass in balancing tenderness with the fierce guitar work Leah has become known for. With a distinct yet unified sound that blends progressive rock, acoustic and pop, Slothrust has never been more confident. 

Released March 16th, 2022

To the new wavers of ’77, Elvis Costello must have looked a straightforward proposition, a black and white world. Punk’s febrile, combative energies and the naïve excitement of golden age rock’n’roll and mod beat encapsulated in one bespectacled, legs-akimbo, skinny tied package. And so, for a short while, it would prove; as the arrival of The Attractions – and a pill-popping angry young man attitude – powered Costello on to the new wave front lines with “This Year’s Model” and “Armed Forces“, his aesthetic cohered around barbed and allusive dissections of pop culture, cutting social commentary and the politics of love and war. A critical darling, and not just because, as Dave Lee Roth bitterly attested, the sleeve of …Model was, for most journalists, like looking in a mirror.

In the 148 pages of this Deluxe Ultimate Music Guide, fully updated to account for his most recent activity, you’ll read some of Costello’s most memorable interactions with just those journalists. Here you’ll find spiky moments – “Getting it all down are you?” – and expansive encounters. Not to mention a full reckoning of the many recordings, collaborations and other adventures which caused them to occur in the first place.

Costello’s tale began to twist early on, and never reverted to formula for forty years. “Get Happy!!” arrived drenched in classic soul and R&B, looking like it’d been dusted off from the basement of the “Twisted Wheel“. A country album emerged, “Almost Blue”, fresh from Nashville itself. A swerve into lush, baroque art pop for “Imperial Bedroom“; another into brassy ‘80s pop for “Punch The Clock“, home to some of the finest deep cuts in alt-rock history in “The Invisible Man” and “Charm School”. The untamed unpredictability of Elvis Costello came to a head in 1986, the year he both premiered the beard on the sleeve of “The Costello Show’s” immaculately authentic country collection “King Of America” and arguably invented grunge on his unhinged junk rock masterpiece “Blood & Chocolate“, introducing his Machiavellian alter-ego and ringmaster of the “Spinning Songbook” tours, “Napoleon Dynamite“.

Since then there have been Celtic Beard Years, classical quartet collaborations, meetings of minds with the pop, blues and hip-hop greats, torch song collections, experimental electronic endeavours, country and jazz departures and plenty else besides. Costello has evolved from new wave’s sharpest rebel poet into a sonic polymath and onstage raconteur, not just one of the country’s finest songwriters but amongst its most adventurous too.

Throughout the decades, though, Costello has retained the will and ability to reconnect with that core punk attitude and fire out a firecracker rock record when the mood takes him – a “Brutal Youth“, a “When I Was Cruel“, a “Momofuku”. It’s been a skewer holding together a career that might otherwise fly off in a dozen directions, and spears through his most recent run of albums too in the shape of the cranky, incredible “The Boy Named If”.

From the very beginning, Pink Floyd were thinking about how to make a show something more than a band simply playing songs. It was a mission that began with stroboscopic light experiments in the company of their landlord Mike Leonard, and concluded with the band erecting an enormous wall between themselves and the audience.

In between there were experiments. An enormous jelly. Frying bacon. Murmuring priests. An octopus, slowly inflating. Animated films. Oil lights and projections. A circular screen. Flying pigs. Flying sheep. As they explored ways to continue as a working band after the retirement of their singer and songwriter Syd Barrett, they moved beyond psychedelic songs into a place almost beyond songs – something more like a film soundtrack, designed to paint a mood on an epic scale.

In this struggle to find a way forward and to keep working, Pink Floyd made their live performances a laboratory for their grandest and most successful music. Songs from the classic albums “Wish You Were Here“, “Animals” and the whole suite of “The Dark Side Of The Moon” (performed live first just over 50 years ago) were first presented (sometimes falteringly; sometimes beset with “technical difficulties”) on stages in the British provinces.

It’s this creative evolution that we’re celebrating in this latest Ultimate Companion, one of our quarterly Special editions, designed to bring you closer to music you love. You might choose to think about the music we talk about here as rough prototypes for more streamlined studio version. Or you may, like us, come to think of them all as a noisy celebration of the creative process. If you dig them out, you’ll find astonishing versions of compositions you thought you knew.

That’s where we come in. Pink Floyd spent a lot of time thinking about how they were going to present a show: the music, the show, the pyro and inflatables, even the placing of the intermission. So much so they don’t seem to have spent a lot of time curating hi-fi recordings of their performances.

So we’ve waded in among the live recordings from official to unofficial, to help guide you on Pink Floyd’s historic creative path – the tapes, the rarest songs, the thoughts of the eyewitnesses now they’ve had time to reflect. We’ve pulled back from the stage to bring put this all in the context of Pink Floyd’s imperial phase. From the archives, we’ve curated a selection of interviews illustrating what the band thought they were doing then, whether planning the perfect freakout, soundtracking a ballet that seems indefinitely postponed, or battling the “wankers” from the council who won’t let them turn all the lights out when they play. As we learn from their inner circle, the band’s reluctance to stay in one place is the keynote of this secret history. “Roger was thinking ‘how can we better this?’,” Floyd creative director Aubrey Powell told Uncut. “It started way back at that Crystal Palace gig with that inflatable octopus. I think he realised that the audience appreciated something more than just the band.”